1 2 VERBATIM “I must confess to not being very acquainted with Angeles City so that the intellec- tual ferment in this biggest university was a pleasant surprise to me. What impressed me most was the total dedication of the Center for Kapampangan Studies to the promotion of Pampango history and culture. Their magazine called Singsing turned out to be a wealth of historical, cultural and social information about Pampanga! Their slogan is, ‘Become a better Filipino by being a good Kapampangan’. Obviously, the www.hau.edu.ph/kcenter Pampangos are mighty proud of their history and culture, and we can only wish that Singsing is published quarterly by other regions would be as dedicated and assiduous in propagating theirs.” The Juan D. Nepomuceno Center - BELINDA OLIVAREZ CUNANAN, Columnist, Philippine Daily Inquirer for Kapampangan Studies of Holy Angel University, Angeles City, “I consider Singsing the best journal published in this Philippines. country.” Dr. Arlyn Sicangco Villanueva University President - PROF. RANDY DAVID, Columnist, Philippine Daily Inquirer

“Just a line to say how good the recent double issue of Singsing is. It has come a Robby Tantingco long way from being primarily a newsletter to many articles which easily qualify for a Editor/ Center Director scholarly journal. I really learned a lot of things about Pampanga. Keep up the good Ana Marie Vergara work!” Graphic Designer - FR. JOHN SCHUMACHER, SJ, Loyola House of Studies, Ateneo de Manila University CONTRIBUTING WRITERS FROM THE CENTER “The glossy issues of Singsing and Alaya have finally arrived and they make my day. I have run out of superlatives to describe them which they deserve. Suffice it to say Erlinda Cruz that the JDN Center for Kapampangan Studies is now the Joel Mallari most distinguished and vigorous of all the local studies Arwin Paul Lingat centers sprouting all over the archipelago. No exaggera- tion.” Peter Joseph Nepomuceno - DR. LUCIANO P.R. SANTIAGO, Church Historian Myra Paz Lopez “Holy Angel U takes particular pride in its Kapampangan Center, whose mission is Alex Castro to preserve and enhance the Kapampangan culture.” Fray Francis Musni, OSA - FR. JOAQUIN BERNAS, SJ, Columnist, Philippine Daily Inquirer Photo Credits: “Nais kong batiin kayo sa napakahusay at kapuri-puring publikasyon ng Singsing. Alex Castro, Gosioco Family, Larry Cruz, Gilda Cordero Fernando, Napakamahalaga ng isang publikasyon na mananaliksik at magsusuri sa kasaysayan at Quiwa Family, Jaime Laya’s Con- kultura ng isang lalawigan habang kumikilala sa mga pambansang saklaw at tunguhin. suming Passions, Santa Maria and Dahil dito, nagaganyak akong mag-isip ng kaparehong publikasyon para sa lalawigan Laxina’s Household Antiques and ng Batangas, kung saan ako sumilay. Isang bantayog ng kahusayan at kasigasigan ang Heirlooms, Tom Joven, Trota and Villegas’ Power, Faith and Image, inisyatiba ng Singsing, gayundin ang inyong Center.” Romeo Cabusao, Dr. Luciano - APOLONIO B. CHUA, Head, Departamento ng Flipino at Panitikan ng Pilipinas, Santiago University of the Philippines, Diliman “The Center should be a model for other regions in the country in its propagation CENTER BUSINESS HOURS: of cultural and literary heritage.” The Center’s library and museum are - VIRGILIO ALMARIO, National Artist for Literature; Dean College of Arts and open Monday to Friday at 8:00 A.M. to Letters, University of the Philippines, Diliman 8:00 P.M. and Saturday at 8:00 A.M. to 5:00 P.M. “I just received the issue of Singsing Vol. 3 No. 2. It is awesome! I have gone over only a couple of articles, and learned so much that is new to me. And I thought that HOW TO CONTACT US: the previous issue was terrific and would be difficult to surpass. Congratulations!” - JAVIER J. NEPOMUCENO, Former VP and Comptroller, Ayala Corporation Tel.: (045) 888-8691 loc. 1311 Mobile: 0918 941 8599 “I am quite impressed with the depth and scope of the scholarship and research Fax: (045)888-2514 you undertake and share with your readers. With such superb publication, it’s easy to Email: [email protected] become an instant fan. Consider me a non-resident Pampangueño intent on re-learn- [email protected] ing his past through your tutelage.” - PROF. ARTURO VALENCIA, Department of Leadership and Strategy, John Gokongwei School of Management, Ateneo de Manila University

3 CO-PRODUCED BY HAU Mánoro wins Best Picture in Cinemanila International Film Festival & special award in Turin, Italy filmfest

JURY CITES FILM’S “LUCID, DEEP STUDY OF THE FIRST STIRRINGS OF A NEW DEMOCRACY”

The digital movie Manoro: The Aeta Teacher, which was co-produced by the Center for Kapampangan Studies and Centerstage Productions, was declared Best Picture in the Digital Lokal division of the 2006 Cinemanila International Film Fes- tival. The awarding ceremonies were held November 11 at Malacañang Palace with no less than President Gloria Macapagal Ar- royo handing out the awards. Its director- producer, Brillante Mendoza, was named Best Director. The movie also won in November the CinemAvvenire Award of the 24th Torino International Film Festival held in Turin, Italy. The Torino jury praised Manoro “for its choice to exploit the mechanisms of fic- tion to analyze contemporary Philippine re- ality, in a voyage of discovery of the local culture that becomes a lucid, deep study of the first stirrings of a new democracy.” Manoro (or manuru, Kapampangan for teacher) tells the story of an Aeta girl in Sapangbato, Angeles City who taught her tribe’s elders how to write in preparation for the 2004 presidential elections. Brillante Mendoza, a native of San Fernando, Pampanga previously directed two other movies with heavily Kapampangan content and dialogue, Masahista (The Masseur) and Kaleldo (Sum- mer). Masahista won Best Picture in the 2005 Locarno International Film Festival in Switzerland, while Kaleldo is the country’s official entry to the 2007 Cines del Sur International Film Festival in Grenada, Spain. Mendoza’s partner in these movies is executive producer Ferdinand Lapuz, who is the country’s link to various film festi- vals abroad. Lapuz is an alumnus of the HAU College of Business and Accountancy; as a student, he won best director in the University’s first inter-college Drama Fes- tival in 1986, which he credits for his pas- sion for Filipino movies.

4 FOREIGN CRITICS SAY: “MANORO IS THE GREATEST WORK OF THE TORINO INTERNATIONAL FILM FESTIVAL” Excerpts from “Film Culture... and How to Make a Festival of It” by OLAF MÖLLER, (Cologne, Germany-based film critic, writer and curator)

lot, and her grandfather having gone boar hunting in the mountains and giving a fly- “IT’S A FILM ABOUT A VERY BASIC HUMAN NEED-- ing fuck about it all, whatever good came ABOUT PEOPLE LEARNING TO READ AND WRITE TO from the city, the mestizos?… Manoro’s PARTICIPATE IN POLITICS” main part consists of the girl’s and her dad’s march up the mountain into the forests looking for grandpa, with the girl stopping The Torino Film Festival is quite com- in its tracks, that final tremor rippling the once in a while to remind people of their fortable with being the No. 2 among Italy’s surface, and less about words even if lessons, and father and daughter discuss- main events in cinema: it has just about they’re haemorrhaged all over the ing representative politics. All this done as all the respect granted Venice but few of soundscape. a re-enactment by the people themselves, the Biennale’s problems with premieres and ..... folks playing their own life, history for real, stars – and no, looking at offerings like the The greatest work of the competition, shot with the most basic-looking, cine-se- opening night delight, Clint Eastwood’s ex- then, was the only film that found the fin- mantically simplest means by Mendoza, traordinary feat of dialectics and humility, est balance between those poles, who knew solely the necessary, essence pure and Flags of Our Fathers (2006), or that piece that, in the end, it’s all about telling the simple – it’s something of a shock when in of eye-candy for historignorati and intel- truth of and with that which is right there, the end the credits show that the film, de- lectually-challenged blabberati, Sophia the world: Brillante Mendoza’s Manoro (The spite being a university-project, was a full- Coppola’s Marie Antoinette (2006), the up- Teacher, 2006). After Kaleldo (Summer fledged production with lots of everything, start from Rome posed no problems, prob- Heat, 2006), released earlier this year, one as it looks and feels like some three-mae- ably, and considering co-directoress Giulia thought that Mendoza would go arthouse stro-craftsmen-stunt pulled off over a week- D’Agnollo Vallan’s legendary connections in- ordinary, certainly in a superior fashion for end. It’s the lack of any polish plus Mendoza’s side Lalaland one wonders unpretentious sense of preci- whether it ever could. D’Agnollo sion, timing, even metrum that Vallan and Roberto Turigliatto! “DESPITE BEING A UNIVERSITY PROJECT, makes Manoro so great: every- They are a great double to head IT’S THE LACK OF ANY POLISH PLUS thing fits, feels just, thereby re- a festival, two sides of a coin, enforces the story’s sense of po- both envisioning cinema as a MENDOZA’S UNPRETENTIOUS SENSE OF litical urgency – this is, very playfully pluralistic plenty, PRECISION, TIMING, EVEN METRUM much and very insistently, a film popular, politically progressive, THAT MAKES MANORO SO GREAT” about a very basic need, about pensive, pranksterish, unafraid people learning to read and of contradictions – no one who write to participate in politics. hosted retrospectives of Paolo Gobetti and Kaleldo is a fine, perfectly crafted piece By chance, the other masterpiece John Milius is – a people’s art that is all of filmmaking, sensitive and alert, but af- among the festival’s new films, Andrea about that which Danièle Huillet & Jean- ter his extraordinary debut Masahista (The Tonacci’s Serras da Desordem (2006), also Marie Straub share with Joe Sarno. Masseur, 2005), a work of earthen spiritu- tells a true story about an Indio, the Guaja Torino’s traditional strength lies in its ality, light and translucent in its form, Carapiru in this case, re-enacting his own retrospective section, which takes up at knowing and of the flesh in its essence, this life, odyssey towards contact with what’s least half of the festival. Certainly more seemed, well, a bit of a let-down, even a considered civilisation – but that’s where than that if one chooses to ignore the three waste. And now this: Rossellini redux and the similarities end. Tonacci’s work, his first Italian competitions, sections foreigners raw, nothing less, finally a film that’s worth feature film in decades, plays more like a rarely make contact with, wisely enough being called civilising. The titling teacher philosophical fable, a tale of civilisation, (well, and then there’s the language bar- is a teenage Aeta girl, thirteen or some- its workings, told from the point of view of rier), despite the occasional gem they thing, who’d learned to read and write – in the centre of an evolutionary spiral, where therefore miss, more often than not cour- contrast to most middle-aged and elderly ethnographic recording and shamanistic tesy of Gianluca & Massimiliano de Serio – people of her village whom she’s teaching. incantation become one cine-synchretistic the best thing that happened to Italian cin- In two days, presidential elections are held, whole. ema since Vincenzo Marra – whose new with the girl trying to teach everybody the Which, maybe, makes Serras da work, Rew e Shade (2006) is again pretty necessary essentials so that they can cast Desordem the perfect metaphor for Torino nice, if one knows Italian, otherwise… But their vote and thereby participate in the – or would Manoro be the better, more suit- there’s always a new piece by Mauro democratic process. It’s not easy, especially able one? – best, probably, are both to- Santini, another Torino-darling, a video– when her father’s more interested in meet- gether, for all that which happens at such poet whose work is more about a certain ing with some Koreans over a job which contacts, the energy that flows, moves, fluency of images, quicksilver stopped dead would prevent him from going to the bal- people’s minds, maybe.

5 call themselves Kalalangan Kamaru. Set in a small village in Porac, the Kapampangan short film tells Anak ning Kapri how the local folk relate to a child they suspect to have been fathered by a supernatural creature known as kapri. HAU backs Center Director Robby Tantingco said the University’s support for this film is part of its out- Kapampangan reach program. “Digital movies will soon replace the big studio movies. They’re easier to make. digital film All it takes is a small group of enthusiasts and a videocam” he said. He added that preserving Kapampangan culture and language on digital film and compact disc is better than on paper. The short film has been submitted to the Cinemalaya 2007 Short Film category, in hopes of making it to the list of Top Ten Finalists. Cast includes Joshua Catacutan, Syrel Lopez, Therese Carlos, Bor Ocampo, Randy Macapagal, Janet Toledo, Jimmy Patawaran, Jacq Cheng, Denisse Guiao, Lara Tarranco. Holy Angel University is co-producing a digital movie, Anak The film, written by Jason Paul Laxamana and Siuala ding ning Kapri with a group of UP film students and enthusiasts who Meangubie, was directed and edited also by Laxamana. RECENT VISITORS OF THE CENTER

RICARDO PUNO, SR. RICARDO ‘DONG’ PUNO BRO. ARMIN LUISTRO JOSE DE VENECIA CECILE GUIDOTE ALVAREZ Supreme Court Justice Former Press Secretary President, De La Salle U Speaker of the House Exec. Director, NCCA

FEDERICO A. LAXA MARTIN TINIO CHACO G.A. MOLINA BELINDA O. CUNANAN ROBERTO MALLARI Director, NHA Heritage Expert Fundacion Santiago Columnist, PDI Aux. Bishop of Sn. Fdo.

BEHN CERVANTES FLORENTINO LAVARIAS LOUIE B. LOCSIN ELLIE CABARRUS LEO MARTINEZ Film and Stage Director Bishopof Iba, Zambales Wife of Rep. Teddy Locsin Benguet Consldt Mines Pres., Film Academy

6 Albina Peczon Fernandez’ TEN National Artists grace HAU book launching Author Dr. Albina Peczon Fernandez helped the University organize the First International Conference on Kapampangan Studies viously unpublished sketches by National Artist for Painting Vicente Manansala, a KAPAMPANGAN Kapampangan from Macabebe town. LITERATURE IN ENGLISH “Fernandez is an extraordinary writer in IS A NEW English,” Dr.Lumbera said in his speech. “She used this foreign language to promote CLASSIFICATION OF Kapampangan culture, unlike many other WRITINGS IN ENGLISH writers who tend to abandon their native USING KAPAMPANGAN culture once they acquire facility in English.” The widow of the great writer N.V.M. EXPERIENCE AS SUBJECT Gonzalez, Narita Gonzalez, as well as AND PAMPANGA AS former National Historical Institute chair- SETTING man Dr. Serafin Quiason, attended the launching, so did Dr. Domingo Landicho, Dr. Elmer Ordoñez, Prof.Eufracio Abaya, Dr. Virgilio Almario and Dr. Bienvenido Dr. Patrick Flores, Prof. Fe Mangahas, poet Lumbera, both National Artists for Litera- Rogelio Mangahas, and a busload of pro- ture, attended the book launching of Dr. fessors from UP Diliman. The author’s town HAU President, Dr. Arlyn Villanueva Albina Peczon Fernandez’ collection of mates from Mexico, Pampanga also came, short stories, held last August at Holy An- including Pampanga board member Johnny laborating with the Center on the book, gel University. The book, entitled Ten: Quiambao and the mayor’s wife, February which she described as a milestone: Coming Home and Nine More Short Sto- Tumang. “Henceforth we shall have Kapampangan ries, was published by the Center for University President Dr. Arlyn S. Literature in English in the same way we Kapampangan Studies. It also features pre- Villanueva thanked Dr. Fernandez for col- have Philippine Literature in English. It’s

7 a new classification of writings in English using Kapampangan experience as subject matter and Pampanga as setting.” Dr. Fernandez is a known, satirist, femi- nist, fiction writer and advocate of Kapampangan Studies and Rizal Studies. She is presently a professorial lecturer at the Departamento ng Filipino at Panitikan ng Pilipinas, UP College of Arts and Letters. Prior to her retirement, she was deputy di- rector for research and publication of the UP Center for Women’s Studies. It was her de- cision to tap HAU as host of the 2001 Interna- Prof. Domingo Landicho Narita Gonzalez, widow of NVM Gonzalez tional Conference on Kapampangan Studies that set off a series of events leading to the creation of The Juan D. Nepomuceno Center for Kapampangan Studies. Last December 18, the book had a sec- ond launching at the UP Main Library, with former Senator Helena Benitez as guest of honor. “With this anthology, Albina Peczon Fernandez reveals yet another facet of her multi-layered persona and joins the ranks of the Philippines’ important women writ- ers,” Robby Tantingco, Center Director, said. WITH THIS ANTHOLOGY, DR. ALBINA PECZON FERNANDEZ JOINS THE RANKS OF THE PHILIPPINES’ IMPORTANT WOMEN WRITERS National Artist Bienvenido Lumbera National Artist Virgilio Almario ACCORDING TO THE CRITICS...

“…Pambihirang “Ang mapanuring pananaw niya ay matalik na nalalangkapan manunulat sa Ingles si ng isang napakalusog na masayahing diwa kaya humahandog sa Fernandez, at karangalan ng atin ang kanyang pamumuna bilang mga piraso ng siste’t Pampanga na siya ay isinilang parikala.” sa probinsyang ito at VIRGILIO S. ALMARIO biniyayaan ng kakayahang Dean of the UP College of Arts and Letters ipalaman sa kanyang mga and National Artist of the Philippines for Literature likha ang kultura ng lipunang Kapampangan. Bagamat siya “The author uses the limited point of view to advantage and ay sa wikang Ingles nagsulat the sense that one gets is a sustained view of growth from the nakaiwas siya sa mentalidad ‘angle of vision’ of a young girl… transformed into a mature albeit ng mga edukadong nang cynical adult in the stories. Most of the stories border on the matutong magbasa at satirical but the author occasionally holds herself and settles now magsulat sa wikang dayuhan and then for sardonic wit… all these stories are a delight to read.” ay napahiwalay sa kultura ng rehiyong sinilanagn. Malinaw na DR. ELMER A. ORDOÑEZ talastas ni Fernandez ang lipunang Kapampangan, at kung may Literary Editor of Manila Times Sunday Magazine bagay-bagay mang kinamumuhian niya rito, ay hindi maitatanggi na mahal niya ang probinsyang nagdulot sa kanya “All the stories are well written, but one stands out… ‘The ng mayamang paksain para sa kanyang mga akda.” Pimple’ is a beautiful and powerful story.”

DR. BIENVENIDO LUMBERA PAOLO MANALO UP Professor Emeritus of Philippine Literature Immediate past Literary Editor of the Philippine Free Press and National Artist of the Philippines for Literature

8 HAU wins grants from NCCA, Instituto Cervantes Two leading cultural groups awarded grants to the Center for Kapampangan Studies for its book projects. The National Commission for Culture and the Arts (NCCA) granted two hundred thousand pesos (P200,000.00) as subsidy for the transla- tion of Fray Diego Bergaño’s Vocabulario en la Lengua Pampanga, the 1732 Kapampangan-Spanish dictionary translated into Kapampangan- English by Fr. Venancio Q. Samson. It will soon be published along with Bergaño’s 1729 grammar book, Arte de la Lengua Pampanga, translated into English by Fr. Edilberto Santos. On the other hand, the Executive Committee of the Spanish Pro- gram for Cultural Cooperation, based at the Instituto Cervantes, awarded a grant of two hundred thousand pesos (P200,000.00) for the publication of another translation work of the Center, the Arte y Diccionario Pampango (1700) of Fray Alvaro de Benavente. This work was transcribed from the original (handwritten) manuscript and then translated into English by Fr. Edilberto Santos. The program is under Spain’s Ministry of Culture. Center Director Robby Tantingco thanked both the NCCA and the Ex- ecutive Committee of the Spanish Program for Cultural Cooperation for their support. “While the Center enjoys the full backing of the University, we still need outside funding for our many pending projects,” he said. Rep. Aquino,,, National Artist lauds HAU Class ‘70 HAU cultural advocacy National Artist for Literature Virgilio S. Almario donate to called on various regions in the country to preserve and promote their respective cultural heritage as a the Center means of strengthening the nation, citing the Center Dr. Rey for Kapampangan Studies as a leading proponent. Aquino, incum- Speaking during a tribute given in his honor by bent Representa- the National Commission for Culture and the Arts tive from (NCCA) and the University of the Philippines Insti- Pampanga’s Third tute of Creative Writing, Almario said that he had District, recently asked the NCCA to hold the tribute here in Angeles donated one hun- City instead of his hometown of San Miguel de Mayumu in Bulacan “because I have been impressed by the Rep. Aquino dred thousand pesos love and passion that Kapampangans have for their (P100,000.00) to the University in sup- cultural and literary heritage.” port of its cultural advocacies and schol- The tribute to Almario is part of the national arship programs. ‘Dr. Aquino is a true government’s celebration of National Arts Month, dur- advocate of heritage conservation,” ing which four other National Artists in Literature Center Director Robby Tantingco said. were also honored in their respective hometowns. “We thank him for this contribution and Almario, who is currently the Dean of the Col- we hope our other government leaders lege of Arts and Letters in UP Diliman, disclosed that will support our culture in whatever his grandparents were Kapampangan and that San manner they can.” Miguel de Mayumu used to be a part of the greater Meanwhile, the High School Class Pampanga Province, until it fell under the political jurisdiction of Bulacan when the 1970 of Holy Angel University, who call Spaniards created the new province. themselves The Apollos, donated one Hailed as the country’s foremost poet in Filipino, Almario also edited the hundred thousand pesos (P100,000.00) groundbreaking UP Diksiyonaryong Filipino and wrote dozens of books on poetry and for the fabrication of the brass fitting of literary criticism. He was conferred the National Artist award in 2001. the Center’s retablo. “We commissioned In the tribute to him held at Holy Angel University last Wednesday, the Barasoain Jeric Canlas, a pukpuk artist from Mexico Kalinangan Foundation, Inc. performed a compilation of his works through dance, town, to do the job for P70,0000,” music, drama and even painting. Prof. Vim Nadera introduced the honoree. Tantingco said. “The remainder will help Almario delivered a lecture entitled “Ang Malungkot sa Malungkuting Filipino,” in which finance other projects.” he analyzed Filipino writers’ and readers’ obsession with the tragic and the lachrymose.

9 HAU WINS 3RD NATIONAL BOOK AWARD The Center for Kapampangan The Center has previously won two National Book Awards: Studies won this year’s National Book last year, for A Cofradia of Two (biography/autobiography cat- Award (Translation category) for its egory) and the year before last, for Gloria: Roman Leoncio’s book Fray Coronel’s Arte y Reglas: Kapampangan Translation of Huseng Batute’s Verse Novel, Lost Kapampangan Grammar and Rules and Found (translation category). The Center was also a final- circa 1621. It is the Center’s third ist in the history category in 2002, for Laying the Foundation: book award in a row from the Manila Kapampangan Pioneers in the Philippine Church 1594-2001. Critics Circle (MCC), an organization The National Book Award is the country’s highest recogni- of the nation’s top tion bestowed on publishers and authors. The Manila Critics literary critics that Circle is composed of Ophelia hands out the annual Dimalanta, Juaniyo Arcellana, Virgilio awards. Almario, Isagani R. Cruz, Fr. Miguel The translator, Bernad, SJ, Cirilo Bautista, Resil Fr. Edilberto V. Mojares, Ruel de Vera, Danton Santos and Erlinda Remoto, Soledad Reyes and Alfred Cruz, who repre- Yuson. sented Center Di- Arte y Reglas is the first of a series rector Robby of translation projects that the Center Tantingco, ac- has undertaken. This year, three more cepted the award translated documents are lined up for Fr. Edilberto Santos in ceremonies publication: Fray Diego Bergaño’s held at the Inter- Vocabulario en la Lengua Pampanga en national Book fair, World Trade Center, Romance (1732), Bergaño’s Arte de la Pasay City. Fr. Santos thanked “the Lengua Pampanga (1729) and Fray Alvaro Benedictine Community of Manila where I de Benavente’s Arte y Diccionario began as a priest, the UST Central Semi- Pampango (1700). nary where I finished theology, and Fr. According to Center Director Horacio de la Costa and Fr. John Tantingco, the translations will make pre- Schumacher, for being strict with me viously inaccessible documents within when I was their student.” reach by more researchers, including stu- For her part, Ms. Cruz thanked the dents and teachers with little or no under- MCC for recognizing the efforts of regional publications. standing of the Spanish language. These She dedicated the award “to the precious few translators who translated books are now wide open for exploration by all the will all soon fade away and there will be no one left to unlock linguists, anthropologists, historians or the plain curious. It’s all these treasures from our colonial past.” springtime for Kapampangan culture.”

Dennis Pineda. Center extends support Ing Bie kung Delanan, Ing Bie kung Balikan, an anthology of original to various book projects Kapampangan poems by Dr. Teresa Sanchez Tolosa, dermatologist daughter of former San As part of its outreach program, the Cen- (Crusade of Penance and Charity). The other Fernando mayor Virgilio Sanchez, who died ter for Kapampangan Studies gave various reviewers at the launch were Fr. Raul de los a month be- forms of assistance to different books writ- Santos and Nina Tomen. fore the ten and published by independent authors Lubao: Cradle of Kapampangan Civili- launching. last year. Among them: zation by Dr. Rodrigo M. Sicat, with launch- Book reviewer O Indu: The Complete Story of the ing program held at the St. Augustine parish Fray Francis Virgen de los Remedios and Her Home in church in Lubao. Book reviewer Robby Musni called the Parish of Baliti by Edna Gueco, launched Tantingco hailed the book as a big step in the book “a at the parish church of Baliti, City of San the promotion of local history and called on welcome im- Fernando. Book reviewer Fr. Pablo David other Kapampangans to piece together their petus to the (now auxiliary bishop of San Fernando) said, respective town histories because “the dying local lit- “May more miracles like this book follow.” nation’s history cannot rely solely on events erature.” The author donated 100 copies to three in Manila” and that “unless all town histories Rep. Rey archdiocesan institutions in the tradition of are written, the history of the Philippines is Aquino, lamac, i.e., sharing of blessings and re- not complete.” Guests included Rep. Mikey former sources, which was practiced by the devo- Arroyo, who said he was “deeply humbled Pampanga tees of the Virgen de los Remedios in the early by the fact that the book honors my ances- board mem- Bomber’s Appointment with days of the Cruzada ning Pamanisi at Lugud tors,” and Lubao town officials led by Mayor ber Rosve Destiny by Daniel H. Dizon

10 ABUEVA’S NINOY, FPJ DEATH MASKS ON DISPLAY AT KAPAMPANGAN CENTER The All Saints Day exhibit at the FERNANDO POE JR.’S MOTHER HAD Center for Kapampangan Studies fea- tured Kapampangan beliefs and prac- A KAPAMPANGAN MOTHER FROM tices surrounding death in the fam- CANDABA WHO PROBABLY SETTLED ily, from prehistoric times to the IN LUBAO WITH AN AMERICAN HUSBAND present. It was conceptualized and executed by museum curator Alex NAMED EDMUND AUTHER KELLY Castro, archivist Fray Francis Musni, done on the eve of their respective interments. He said that the OSA and researcher- archaeologist death mask copies acquired by the University are the first and Joel Mallari. only copies of the originals, which remain in his possession. The Musni says he was able to identify at least 25 Kapampangan exhibit euphemisms for saying that the person has died. featured “Kapampangans are very creative the death and imaginative in this,” says Musni. masks of “It speaks well of our religiosity and National Artist the our care for other people’s feelings.” Napoleon Abueva martyred Many Kapampangans still practice Benigno “Ninoy” Aquino, Jr. and Na- gosu, which is a kind of Halloween car- tional Artist Fernando Poe, Jr., done oling similar to the western trick-or- by another National Artist, Napoleon treat, and bulaklakan, which is a game Abueva. of riddles done during a wake. “It’s quite an honor for the Cen- According to Tantingco, ter to be able to acquire the death Kapampangans traditionally troop to masks of two great Filipinos, both op- the cemeteries on November 1, position leaders whose deaths altered the course of history, which is All Saints’ Day and not on and both with Kapampangan blood in them,” says Center Di- November 2, which is All Souls’ Day, rector Robby Tantingco. “The fact that the death masks were because feast days and holy days are always celebrated on the done by Abueva makes them even more important.” eve or the night before more than on the day itself. “So we Ninoy Aquino, native of Concepcion, Tarlac, was felled by an pray for the dead on the night before All Souls’ Day, in the same assassin’s bullet after arriving at the airport in 1983, while Fernando way we celebrate All Saints’ Day the night before, on October Poe, Jr., whose mother’s roots are in Candaba and Lubao, died in 31, which is Halloween. Halloween is a contraction of All Hal- 2005 after an unsuccessful but controversial presidential bid. lows’ Eve, the eve of the feast of hallowed or holy people, or Abueva used plaster of Paris for the mold of both death masks, saints.”

Henson and officers of the poets societies Porac: A Rancheria at Batiauan 1594- works which have contributed to the en- Aguman Buklud Kapampangan and Aguman 2004 by Edgardo C. Sibug, launched during hancement of local history writing, the en- ding Talasulat Capampangan attended the the Porac town fiesta. In his foreword, Mayor richment of libraries and the illumination of event which was held at the University of Exequiel Gamboa wrote that the book “as- generations.” the Assumption. pires to be among the similarly published Meanwhile, the Center published a book- let on the crash of a World War II plane that occurred on the University campus. A Bomber’s Appoint- ment with Destiny is the eyewitness ac- count of local histo- rian Daniel H. Dizon of the fatal accident involving the Ameri- can crew of a Mitchell B-25 attack bomber. Interest in the 1945 crash was revived following Ing Bie Kung Delanan O Indu by Edna L. Gueco Lubao: Cradle of Porac: A Rancheria at the excavation of by Tec Sanchez-Tolosa Kapampangan Civilization Batiauan by Edgardo C. parts of the wreck- by Dr. Rodrigo Sicat Sibug age.

11 Emilio Aguilar Cruz bio HAU publishes Nick Joaquin’s last book

Piazza of Serendra at the Bonifacio Global City in Taguig, Rizal -- where the book launching was held

LJC Restaurant Group. art. When he died in 1991, his ashes were “Putting together in one these two ma- scattered at the foot of Mount Arayat, his jor forces in Philippine art and culture is favorite subject. Many of his previously un- truly a cause for celebration,” University published paintings and sketches are fea- President Dr. Arlyn S. Villanueva said in her tured in the book. welcome remarks at the book’s launching. The National Historical Institute (NHI), The book, entitled Abè: A Frank Sketch, where he served as member of the board was launched last December 6 at Abè Res- of directors, has honored him with a his- taurant in Serendra, an upscale complex at torical marker at the Magalang municipal the Bonifacio Global City in Taguig. park. “This is the book Nick Joaquin had vol- The book was launched at the restau- unteered to write himself,” said Larry Cruz rant named after him, Abe Restaurant, in his speech. “I had asked him to write a which serves native cuisine, mostly short piece for a collection of tributes I was Kapampangan. Speakers included Gilda planning to publish, but he insisted to write Cordero Fernando, Bencab, Armando the whole book.” The National Artist, said Doronilla, Ambeth Ocampo, Adrian Cruz, handed to him the finished manu- Cristobal and Krip Yuson. Complimentary scripts just two months before he died in copies were awarded to Arni Valdes (rep- April 2004. Cruz is the son of the noted resenting the Nepomuceno Family), diplomat, artist and journalist known by his Magalang Mayor Pastor Guiao, contemporaries as Abe Cruz. Dr.Evangelina Lacson, the National Li- A native of Magalang, Pampanga, E. brary, the National Historical Institute and Holy Angel University recently pulled Aguilar Cruz wrote Maynila and Other Ex- Ms. Belen Cruz, the sister of Abe Cruz. off a major literary event when it published plorations, edited The Daily Mirror and Among the featured performers at the the certified last book of the late National Sunday Times Magazine and served as Phil- launch were the country’s top soprano Artist for Literature Nick Joaquin, the bi- ippine ambassador to the UNESCO in Paris. Rachelle Gerodias, Ballet Philippines and ography of writer-painter-bon vivant Emilio As art critic, he wrote in 1944 the anti-re- the HAU Chorale. Emcee was former Bb. Aguilar Cruz. The publication was in part- alism essay The Autochthonous Tradition, Pilipinas-Universe Karen Agustin. nership with Larry Cruz, President of the which ushered in a new era in Philippine Other guests included Italy’s Ambassa-

12 Among the guests at the book launching held at Abe Restaurant in Serendra at the Fort were (left to right, top) Gilda Cordero- Fernando, Adrian Cristobal, Armando Doronilla, Krip Yuson, Francisco Tatad, (bottom) Bencab, Ambeth Ocampo, Claude Tayag, Gemma Cruz Araneta, and host Larry Cruz dor to the Philippines Rubens Fedele, any kind of monument and any kind of ac- that he lent Nick Joaquin a box of cassette Rep.Cynthia Villar, Taguig Mayor Freddie colade. Because to live well is the best re- tapes containing Alfred Navarro Salanga’s Tinga, Carmen Guerrero Nakpil, Gemma venge.” interviews with Abe Cruz. “I hope one day Cruz Araneta, former Senator Francisco For her part, Gilda Cordero Fernando Larry will also publish these interviews Tatad, former NCCA chair Evelyn Pantig, recalled the many trips to Chinatown and from the proceeds of this book so that we CCP President Nestor Jardin, John Silva the countryside that she and Ambeth can hear what Abe said about himself of the National Museum, Patis Tesoro, Ocampo made with Abe, although “I was rather than what Nick Joaquin said about Claude Tayag, Yen Makabenta, Kit Roxas, just an appendage to Ambeth.” She said, Abe. There’s another project I wish we Cecilia Leung, Fred de la Rosa of the Ma- “Ambeth adopted Abe, not the other way could finish before this generation forgets nila Times, Ogie and Maricar Periquet, around. I used to say Abe taught him all this man. Larry has actually collected Nina Halley, newscaster Mike Toledo, the bad things, how to eat every hour, to Abe’s writings from the pre-war period and Bernie Ople, Nayong Pilipino chief Charito take breakfast or any meal very late be- I have offered time and again to edit these Planas, Richard Merck, Raymond cause only piyons and farmhands ate early. and print them so that a whole genera- Gutierrez, Monsour del Rosario and HAU And to believe that medicines can take the tion can learn administrators. place of diets. Abe would line up his vari- from him in In his speech, Adrian Cristobal said, colored pills on the table, one for high blood the same “The subjects he chose were subjects that (that’s for bulalo), one for cholesterol way that I would not shake nations, but for readers (that’s for dinuguan), one for the heart (of learned and writers, they were masterpieces of course lechon) and one for arthritis (more from acute insight and human observation. I lechon). But he also taught Ambeth and me him.” would have loved to be Abe but I didn’t three precious things: about the history of have sexual prowess, but in any case he is foods, about mores and morals (not so much an example of a writer that does not try to the latter) and to grab the moment—Carpe exceed the limits of his talent because what diem!—which simply meant, ‘Gorge on was most important to him was humanity, talangka fat as if there were no tomor- feelings, emotions and not the sentiments row!’” and passions of passing years. Of course Ambeth Ocampo revealed that one this wouldn’t have made him a Tacitus but reason the book was finished early was it certainly made him Petrolius, the arbi- ter eminent. For me, that is better than National Artist Nick Joaquin

13 Emilio Aguilar Cruz was fondly called My early acquaintance with him goes back “Abe” by a large circle of friends and col- to the days when he was still with the Times. leagues, but I addressed him always in the He was a frequent guest of my late uncle Don old-fashioned Kapampangan style as Cong Jose Lao Yap in Angeles in the province of Milyo. His varied life spanned three quar- Pampanga. Years went by and our paths crossed ters of the 20th century. Because he was a once more. Our close relationship this time man of many parts, it is difficult to say what was forged when he became a Board member he meant to so many of us who were closely of the National Historical Commission (1967- associated with him and to document many 1981) where we found a common bond in our of his accomplishments. interests for history and culture. He knew the I am not a bit surprised if many of those importance of these two branches of human who knew Cong Milyo in many ways could knowledge and real value of languages that recount countless anecdotes about him. On enabled him to draw upon them for his own the occasion of his 91st birthday, I shall limit well-crafted and meaty essays both scholarly myself to some reminiscences of him in the and popular. National Historical Commission and UNESCO At the National Historical Commission, I days where I knew him best. And if space was privileged to be in the company of fore- still permits, my remembrance of him as a most scholars and writers—Fr. Horacio de la delightful eating companion as well as his Costa, S.J., Prof. Teodoro A. Agoncillo, Chair- other outstanding facets as a rare person Carmen Guerrero Nakpil, Emilio Aguilar Kapampangan will suffice. All who knew him Dr. Serafin Quiason Cruz, Dr.Domingo C. Abella and Director well have recognized his zest for good life, Godofredo Alcasid of the National Museum. A his encyclopedic knowledge, his knack for languages, his sharp little later, Prof. Esteban Ocampo joined us. Every board meet- critical eye, his high standards of accuracy, his broadly based hu- ing was always charged with a heavy dose of erudition and spiced manism, his spring of witty remarks punctuated by a fine sense of with frequent outburst of indescribable mirth because we had in humor, his facile literary style, his keen editorial judgment, his our midst a ‘ubiquitous jester,’ to use the term of Cong Milyo. compassionate concern for the poor and the weak, his deeply Combining his unerring sense of tact, considerateness and taste rooted Quezonian social justice, his accessibility to young Filipi- with wu wei or quiet effectiveness in his inter-personal relation- nos in search of knowledge and guidance, his astonishing work ships, he played a distinctive role in the life of the institution habits, his adeptness as a player in the casinos here and abroad, while assiduously fostering historical awareness in our national and above all, his superb spirit with which he lived the life of the community. mind. Translation is a high form of scholarship. It is in the field of All of these enduring hallmarks and qualities were embedded behind a modest mien of a rare breed of Kapampangan that he was.

E. AGUILAR CRUZ: A Rara “Abe” By Serafin D. Quiason Former Chairman National Historical Institute

14 translation where he left a pro- Fall of the Roman Empire. When found mark in the world of Phil- I inquired where he got the three- ippine historiography. His trans- volume work in gilded and classi- lations from original French into cal binding, he told me that he English include Paul Gironiere’s had bought them on the sidewalk Journey to Majayjay, 1893; J. of the Left Bank. He was overly de Man’s Recollections of a generous with sharing his books, Voyage to the Philippines, artworks and even his costly sig- 1894; The War in the Philip- nature personal belongings—a pines as Reported in 1899 by clear proof that he was impecca- Two French Journalists, 1986; bly dressed. Duc D’ Alencon’s Luzon and In his fifties, he furthered his Mindanao, 1896; Andre boyhood interest in painting. I of- Bellssort One Week in the Phil- ten dropped by at his apartment ippines, 1897. He received at Menlo and later at his praise from no less than histo- townhouse at Ecoville and be- rian John Larkin of the Univer- came fascinated by his painting sity of New York in Buffalo who routine which was grueling and in- reviewed the five French works tense. Mind you, I am a grateful in the Journal of Asian Studies. recipient of a few pieces of his Professor Larkin has this to say: impressionistic artworks, mostly Emilio Aguilar Cruz’s transla- Freudian in imagery. I highly prize tions are “smooth, fluid, accu- his portrait of mine done in wa- rate and quite reliable…” as tercolor which he painted one well as “insightful and elegant Saturday afternoon in the late 80s in prose.” Cong Milyo was re- at our Antipolo house. ally at home with both English Cong Milyo’s perfectionism and French that he could use was extended to food and wines them with unusual ease and in and even to the young models for a mellifluous way. his painting sessions. As a veri- Gifted in languages, his table gourmet and connoisseur of mastery of French was amazing. wines, he knew no strict diet. He He studied it on his own and used to tell me that his battery developed in due time a special of pills could easily correct any fondness for French culture. In ailment resulting from immoder- Paris, I had the good fortune, as ate indulgence in fine and deli- a member of the Philippine del- cious food, especially egation to the General Assem- Quiason was fascinated with Abe’s painting routine “which Kapampangan cuisine. I recall blies of UNESCO, to be with him. was grueling and intense” also that he was the one who in- He was the permanent Philip- troduced me to the Moroccan na- pine delegate to the UNESCO (1978-1981) with the rank of Ambas- tional dish—cous cous. In Metro Manila, he would take me along sador. His astonishing proficiency in French was ably demonstrated to dine at several hole-in-the-wall types of cafeterias in the heart in his conversations with the foreign delegates and staff of UNESCO, of Ongpin, in the hard-to-describe carinderia at the back of the owners and waiters of famous restaurants and starred coffee shops Seaside Fish Market in Pasay, in Everybody’s in San Fernando, and like Café de Flore—a favorite hangout of Albert Camus and Ernest in the Bahay Kubo stalls in Tanay and Binangonan. He always Hemingway—and La Rotonde, bookshop sellers at Brentano’s and made it a point to turn down any offer to either pay our bills in La Hune and taxi drivers. No Filipino knew the best Pari- full or share them a la Western style. He always pulled my leg sian cafés and restaurants better than he did. One whenever he saw me avoiding camaro (adobong time, he took me for a leisurely walk to the apart- mole cricket), duron (locust), igat (eel). “You ment buildings where Juan Luna and Jose Rizal are the only Kapampangan I know,” he ex- stayed, and showed me the fabulous Ritz Hotel claimed in jest in our colorful native tongue, and the Musee de l’Homme. On other occa- “who does not eat these delicious crea- sions, he brought me to Crazy tures fresh from the rice fields of Horse and entertained me and Candaba and ponds of Sasmuan!” In other Filipino friends at several Singapore, he, together with M. expensive and ancient-looking es- Rajaretnam, Director of the Resource tablishments in Montmartre, La Centre, and me, went the whole day Place de Vosges and Champs long on a restaurant-hopping—well- Elysées. known eating places like Swee Kee, Cong Milyo traveled widely in Mutho’s and Newton Circus. Europe, America and Southeast Time expended with him passed by Asia. Everytime he came home, he too fast because he was an accomplished brought a memento for me. On one raconteur and a congenial conversation- occasion, he gifted me an old set alist. Out of a long dialogue with him, of Edward Gibbon’s Decline and one would emerge filled with new

15 knowledge and additional information. On the night of August 12, 1985, I remember quite well, Cong Katoks Tayag, a Board member of the Philip- pine National bank, Cong Milyo and I took our dinner at Café Adriatico. Both Cong Katoks and Cong Milyo enjoyed immensely a huge platter of ox tail that very ominous evening. Neither Cong Milyo nor I had any inkling that it was Cong Katoks’ last dinner with us, for the following morning, the sad news of his sudden death came too hard to believe. Cong Katoks was about to play tennis when he suc- cumbed to a massive coronary throm- bosis. Without a formal education be- yond elementary schooling and one year at the School of Fine Arts of the University of the Philippines (1930- 1931), he was a constant reminder that scholarship and learning do not require a college degree, even a Ph.D. His exposure to American Thomasite teachers in San Fernando, In his mature years, Cong Milyo’s ardent love of art, decora- Pampanga opened up for him a wide range of new, stimulating tion and passion for classical music led him to fill his apartment and fresh knowledge. His colonial education had shaped and finely at Menlo and later at Ecoville with as many pieces of Filipino honed his American brand of English which he applied in later objets d’art and classical records as possible. At his Ecoville years in good stead in his lucid and pleasing literary works. He townhouse, he projected an image of tireless writer or painter, was a voracious reader with a phenomenal memory. comforted by a rich collection of Filipiniana items, a set of an- His life was a model in the art of living with a quiet grace, tique-looking pens, notebooks, assorted paint brushes, an age- style and dignity. He was a man who lived in his synthesized old easel and an array of Grumbacher tubes, and was completely Filipino and Western values and who sought only to help and give. satisfied in his daily routine. He was a man with many true friends and liked their company. Cong Milyo was not a religious practitioner, but he approached His townhouse was a mecca for them. As a kind, wise and patient matters pertaining to faith with a sense of empathy. When he person, he always made time for young people seeking out his passed away at the Makati Medical Center on December 19, 1991 private advice, despite his own busy schedule. His insatiable cu- at the age of 76, I, too, deeply mourned the loss of a kind-hearted, riosity combined with a persistent desire to comprehend human cultured, elderly, revered friend and in all probability a relative nature led to his becoming a keen observer of human behavior of mine on his maternal side. Throughout his life, he had never and character. He had no patience with hambug and dubious forgotten his ancestral roots and retained always an abiding af- characters, and as such, with a rapier-sharp wit, he was capable finity for his native town of Magalang, where he was born on June of sarcasm and of making ironic remarks which he expressed well 5, 1915. The sprinkling of his ashes in the undulating terrain of in archaic Kapampangan. He was quick in repartee. Mount Arayat and Magalang’s green foliage was a poignant mo- ment signifying the union of his gentle soul with His Maker and THE SPRINKLING OF HIS ASHES IN eternity. To Cong Milyo—the last of the rare breed of great THE UNDULATING TERRAIN OF Kapampangans of his generation—requiescat in pace. MOUNT ARAYAT AND MAGALANG’S GREEN FOLIAGE WAS A POIGNANT MOMENT SIGNIFYING THE UNION OF HIS GENTLE SOUL WITH HIS MAKER AND ETERNITY.

16 Ing Managpe Country’s oldest zarzuela revived

The Center for Kapampangan Studies restaged Ing Managpe on several occasions recently. The first was held last May at the Plaza San Jose (HAU Main Building Quadrangle), as part of the national obser- vance of Heritage Month. It was co-sponsored by the Filipino Heri- tage Festival, Inc. Festival Director Anna Maria “Bambi” Harper at- tended the affair. The second restaging was done on August 11 and 12 at the HAU Immaculate Heart Gymnasium. It was co-sponsored by the University’s various college student councils and high school department. The Kapampangan zarzuela written by Mariano Proceso Pabalan Byron of Bacolor, Pampanga was the first zarzuela ever written in any Philippine language. It is older than Severino Reyes’ Walang Sugat and Crisostomo Soto’s Ms. Bambi Harper, Director of the Filipino Heritage Festival, Alang Dios, the best known Tagalog and congratulates cast and crew of the Holy Angel University revival Kapampangan zarzuelas, respectively. of the Kapampangan zarzuela Ing Managpe in May 2006 at the The play was written in 1899 and was first staged Plaza San Jose. It was restaged in August 2006 at the at the Sabina Theatre in Bacolor on September 13, University Gymnasium. 1900. Its original music, composed by Amado Gutierrez David and first published by Cornelio Pabalan Byron on May 19, 1909, has been reconstructed for this revival pro- duction by Stan Palma, a scion of the popular Palma clan of Bacolor. Ing Managpe revolutionized Philippine theatre at the turn of the century by introducing the theme of Filipino family and using drab domestic setting, instead of the usual European pomp and pageantry of colonial zarzuelas. The play’s plot revolves around the domes- tic quarrel between Doña Juana and Don Diego; a sub- plot involves their maid and househelps. The title, which means “The Patcher,” refers literally to the name of a dog and figuratively to the character who patches the feud. The HAU production was directed by Peter Joseph Nepomuceno and Michael Manabat; its cast was composed of HAU students Remejia Lacson (Doña Juana), John Ocampo and Moreno Reambillo (Don Diego), Rona Reyes (Sianang), Roillingel Calilung (Fermin), and Daniel Maglambayan (Pablo). Their fac- ulty adviser was Erlinda Cruz.

17 THE MAGICAL, MYSTICAL

Mountains have always aroused the imagination of men SUKU and inspired legend, poetry and faith. If great civiliza- tions were born near rivers, great religions were con- OF MOUNT ARAYAT ceived on mountaintops. Every culture on this planet has its own Mount Sinai, and if it doesn’t, it creates pyra- WAS SUKU A HISTORICAL FIGURE WHO mids to simulate mountains. MERELY ASSUMED MYTHICAL PROPORTIONS When our ancestors sailed in from the sea, they were WITH THE RE-TELLING OF HIS STORY probably drawn to Mount Arayat, which was visible from IN EACH PASSING GENERATION? Manila Bay. That’s how they found their sacred river, which led them to their sacred mountain. By Robby Tantingco Fray Martin de Zuñiga theorized that this solitary coni- cal mountain in the middle of a vast flatland had been formed by a giant whirlpool at the beginning of time. Archaeologists calculate, by studying the volcanic rocks 18 that litter its slopes, that its last eruption occurred some tury Spanish friar who wrote a Kapampangan dictionary, 500,000 years ago. Throughout recorded history, this moun- explained that suku means “an indeterminate end,” i.e., tain had served as battleground between Spaniards and revo- nobody knows exactly when that end is going to be, “not lutionaries, between Americans and insurrects, between even the one who may have coined this word.” He further Japanese soldiers and Huks, between government soldiers wrote, “Nor do we know if this concept is that of eternity.” and rebels, and had provided refuge and sanctuary for scoun- The mystical connotation that Kapampangans weave drels, fugitives, deserters, mystics and cultists, or the plain around the word suku mirrors the mysticism that thrill-seekers, mountaineers and adventurers. Kapampangans ascribe to the legend of Suku. Suku was a But for the common folk who lived intimately around it, giant, a god, a sorcerer. He was evil, he was benign. He those who observed its nuances as it interacted daily with was a man, he was a woman. He was generous but he was the sun, the clouds and the wind, Mount Arayat was a con- capable of cruel pranks and punishments. He was the most stant, looming presence that populated their dreams and handsome man on earth but he could magically transform nightmares. It became the object of their fears, their aspi- himself into a beast and even into a mosquito. rations and their imaginations. They spun tales, wrote mu- Kapampangans could not make up their minds about what sic and poetry about it. he really was. Maybe he was whatever Kapampangans pro- When they looked at the humongous rock formation near jected him to be, according to their individual fears, aspira- the summit—called “White Rock” today, actually the lava tions and imaginations, or maybe according to the histori- dome of the dormant volcano—they imagined it to be giant cal conditions and experiences of each generation. During mansion gleaming in the sunset. And if it was an abode, calamities and natural disasters, Suku was a fearsome god they asked, who had built it and who lived in it? battling his rival Namalyari. When the colonizers subju- And that’s how the legend of Suku (or Sinukuan) probably gated us, Suku became our almighty savior. When we em- began. braced our colonizers’ religion, Suku morphed into a loving Some scholars argue that Suku was actually a historical father whose daughters had Christian names. figure in the distant past, a local chieftain whose otherwise Today, young Kapampangans remember Sinukuan as a ordinary human attributes and maybe slightly extraordinary bottled mineral-water brand name. Mount Arayat, once exploits assumed mythical proportions with each re-telling sacred to our ancestors, is now just the favorite destination of his story across the centuries. of field trips and fraternity initiation rites of students and Was he taller than his subordinates? Later generations youngsters, who desecrate it with their garbage and graf- made him a giant. Was he wealthy? His house became a fiti. Kapampangans may have outgrown Suku, just as many palace made entirely of gold. Did he kill his enemies in cultures elsewhere eventually outgrow their myths and re- battle? Lo and behold, he eventually became an invincible ligions. Or, Kapampangans probably have outlived Suku, god! who died along the way and has turned out to be mortal and His name Suku does not refer to the verb “to surren- finite after all. der,” but to an ancient Kapampangan noun suku or sucu, Then again, it only goes to show that Kapampangans are which means “the end.” Fray Diego Bergaño, the 18th-cen- stronger than their myths.

19 SINUKUAN’S SUPERNATURAL POWERS HE COULD MASQUERADE AS A MOSQUITO, TRANSFORM PEOPLE INTO PIGS, CAUSE AN EARTHQUAKE AND WHIP UP A STORM

Following are excerpts from H. Otley “Furthermore he wanted to punish the the Pampangans hated the Tagalogs) and Beyer’s collection of legends from his people in the plain severely so that they different customs.” (Teodulo D. Franco, Kapampangan students at UP, circa early would not come to his palace. Because of The Story of Sinucuan in Pampanga, 1916) 1900s. Discrepancies are a result of the dif- his power to control the winds, he raised a ferences in place of origin and background: disastrous storm which destroyed practi- “After the witches were defeated by “Sinucuan at this time transformed cally all that the people of the plain had— Sinucuan, he transformed them into dif- himself into a mosquito to hear what they crops, houses, trees, etc. Besides, the ferent forms. Some of them had wings were conversing. (In transforming into a storm killed many people because of lack which we now call asuang, who were sup- mosquito, he asked the help of the witches of food and shelter. It was said that the posed to live on human body. Others had of the mountain.) On hearing the accep- storm lasted for about one week. After the only the lower part of the body which were tance of his daughter, he became mad. He storm, he caused an earthquake, which called magcucutud—that is, they had the transformed the man into a pig. He then caused the rising of the land which resulted power to cut their body into two parts. Still created another pig (female) and put both in the formation of more mountains and others were the magcuculam, who had the pigs in a secluded cave. They suddenly in- many hills. Among the mountains formed power to make sick the people in the plain. creased. Some of them were freed from by the earthquake were those in And still others were the duendes who were the cave and came down to the plain. This Floridablanca and Guagua. The mountains as tall as the bamboos. They were like gi- was the belief of the ancients on how pigs prevented people from communicating ants who just swallowed any living person.” existed in Pampanga.” (Teodulo D. Franco, with one another. Hence we have differ- (Teodulo D. Franco, The Story of Sinucuan The Story of Sinucuan in Pampanga, 1916) ent dialects, different feelings (for before, in Pampanga, 1916)

HOW THE CANDABA SWAMP WAS FORMED IRKED BY INDISCRIMINATE DEFORESTATION, THE GIANT LIFTED MOUNT ARAYAT AND CARRIED IT ON HIS SHOULDERS, LEAVING BEHIND A SWAMP

“It was the chief rumor and belief in our town, San Fernando, in “Formerly, the mountain was located at Tapang, Nueva the province of Pampanga, that in former times, Mount Arayat was Ecija, but the natives’ greed and desire for gold and the placed in the immense plains of Candaba. During that time the people consequent determination to acquire the mine incurred of this place built their houses out of the materials taken from this the hatred of Sucu who immediately removed it to San mountain. Large and strong timbers were especially secured from Miguel, Bulacan. Here, he remained only one night for the trees growing on this mountain. In this mountain there lived a after quarrelling with his wife, he shouldered the mon- very big giant by the name of Cargon Cargon who takes care of the strous mountain and with two steps reached Arayat, a very mountain. The successive cutting of timbers gave great offence to swampy place, and planted it there. The water of the this giant; so having possessed the superhuman power, one night he swamp was driven away and flooded Candaba, the neigh- carried his mountain on his back to another place. The next morning boring town, which has remained a marshy site up to this the people of Candaba were surprised of having lost from their sight time. This peculiar attitude of Sinucuan with regard to the beautiful mountain which once stood in their town. The spot the gold mine of his dwelling-place is better towards for- where the mountain had stood was changed into a swampy place eigners. For instance, when the English came to the is- which is now known by the name of Pinac de Candaba. In like man- lands, two Englishmen were supposed to have established ner the people of Arayat where the mountain now stands were very mining projects near the mountain but when they touched much amazed when they saw the mountain in their town.” (Dominador the gold mine of the fairy, they were enchanted.” (Manuel G. David, Pampangan Folklore Stories, 1917) Carreon, Pampangan Legends, 1917)

20 SUKU’S FANTASTICAL TRANSFIGURATIONS

FAIRY, ENCHANTRESS, GIANT OR HUMAN? MAN OR WOMAN? HANDSOME OR HIDEOUS? THE VERSIONS OF THE STORY ARE CONTRADICTORY The early accounts in H. Otley Beyer’s into his present ugly, hid- collection are confused, which means ei- eous form.” (Manuel ther that the students who collected the L.Carreon, Pampangan tales had misheard or misquoted the folks Legends, 1917) they interviewed, or that by the early 1900s, the tale of Sinukuan had already “An enchantress been adulterated or forgotten so much that who was known by the the original story may have been lost. It is name of Sinukuan a challenge to researchers to trace the dwelled in her gorgeous basic narrative thread so that the original, palace inside the mountain. This palace basic story can be reconstructed. was said to be decorated so richly with ru- very happy.” (Cipriano de los Reyes, The bies, diamonds and other precious stones Three Daughters of Sinukuan, 1915) “Sinucuan was a very fine fellow with that no human eye could look at it for a arms and sinews as iron. He was said to long time.” (Justo Arrastia, The Legend of “People believe Sinucuan is still living in resemble Cupid because of his beautiful Mount Arayat, 1915) the Arayat Mountain. For this reason Arayat face. From his youth he developed a good is often called the mountain of Sinucuan and custom and an admirable character. He “Minga, the father to three beautiful the baño in that place is the bathing place of was a quick thinker. He was so far unex- daughters, and whose wife was called Sinucuan. Sick people would go to the baño celled by anybody in this island of Luzon. Sinucuan and nicknamed Sucu…” (Macario and take a bath. According to reports, those He devoted his time in the woods hunting.” G. Naval, A Collection of Legends from who take a bath there are freed from sick- (Teodulo D. Franco, The Story of Sinucuan Pampanga, 1916) ness. Just see the influence of Sinucuan in Pampanga, 1916) there. Because of all of his performances, “The people of the town loved Sinukuan Sinucuan is now called the ‘Father of the “He was formerly a handsome youth but for he always showed kindness to them. Pampangans.’” (Teodulo D. Franco, The upon marrying a mortal he was transformed Peace was everywhere and the people were Story of Sinucuan in Pampanga, 1916)

21 “Suku had two had a dark-brown daughters but one of complexion. The them died from sick- younger was of ness. The remaining medium size and daughter was always very beautiful. sad. Her mother gave The older one was her everything yet she jealous and tricky was not happy. This while the younger mother could do what- daughter was ever she wanted ex- calm, joyous and cept to bring the dead handsome. As his to life. One day she daughters grew thought of giving her into womanhood daughter a friend so as he, with the help to drive that sadness of the witches, from her. She took her created a large daughter to the town and spacious cave and told her to select inside the Arayat one of the ladies.” Mountain. Inside (Leon Ma. Gonzales, the cave he built Sinukuan [A Floklore a large palace…” Story], 1915, trans- (Teodulo D. lated by Alfredo Franco, The Story Nicdao in 1918) of Sinucuan in Pampanga, 1916) “The people need not work hard “From his to get a living for the wife he had soil is very fertile THE DAUGHTERS three beautiful and the mountain daughters with abounds in fruits and whom he lived games. But the in- OF SINUKUAN quietly in his dustry in which the NAMES LIKE CALIBANGUT AND splendid golden people were mostly CALIKANGUTABAC HINT AT THE palace. The engaged was darac habit of these la- or tikitiki. This is LEGEND’S PRE-1571 ORIGINS dies was to de- due to the fact that scend from their every Sunday morn- magnificent ing, the three home every Sun- daughters of day and take a Sinukuan, the King of Mount Arayat, went de los Reyes, The Three Daughters of ride in their nice vehicle around the to the town market to buy darac for their Sinukuan, 1915) town. Sometimes they would come to the swines. But the three sisters were always market and bartered their pieces of gold in disguise whenever they went down to “Sinucuan was said to have a beautiful with some articles. After their frequent town in order not to attract the attention and lovely wife and two daughters. The visits to the town they made several of the town people. The daughters of name of his wife was Marianusep de friends among the young women of the Sinukuan exchanged the darac with gold Sinucuan. The name of the older daugh- town.” (Dominador G. David, twice or thrice its value, so many mer- ter was Calibangut and the younger one, Pampangan Folklore Stories, 1917) chants soon became well-to-do. (Cipriano Calikangutabac. The older one was tall and THE ASCENDANTS OF SINUKUAN HIS MOTHER WAS CALUPIT; HIS FATHER’S NAME WAS MAGTUNGCU, SOMETIMES CARGON CARGON “In this mountain there lived a very big giant by the name of tain.” (Dominador G. David, Pampangan Folklore Stories, 1917) Cargon Cargon who took care of the mountain. The successive cutting of timbers gave great offence to this giant… so one night “It happened that the offspring of Adam and Eve resided in he carried his mountain on his back… Later he received a deci- Asia. By the multiplication of these new ones, Magtungcu and sive challenge from another giant who lived in Zambales moun- Calupit went to the island of Luzon in the Philippines. Because tains. Cargon accepted the challenge and they fought by throw- of their adventurous spirit, they reached the mountain of Arayat ing big stones to each other. After the fight the enemy of Cargon in Pampanga. This mountain was said to possess many magics, was killed but Cargon was also mortally wounded…. A few months long time ago. Their first-born son was Sinucuan.”(Teodulo later Cargon died and his son named Suku inherited the moun- Franco, The Story of Sinucuan in Pampanga, 1916)

22 EL FABULOSO SUKU (The Mythical Suku) By Don Pedro Serrano FROM VOLUME II OF DON ISABELO DE LOS REYES’ ANTHOLOGY EL FOLKLORÉ FILIPINO PUBLISHED IN 1889 SPANISH ORIGINAL TRANSLATED INTO ENGLISH BY FR. EDILBERTO V. SANTOS CENTER FOR KAPAMPANGAN STUDIES I As I sat on a pilapil of a ricefield, enjoying the gentle breeze of one December morning, near a sugar cane plantation, which was the favorite palace of the patianak (imp), I was contemplating the majestic beauty of that vast panorama, in whose center stood out alone Mount Sinukuan of Arayat, like a watchtower guarding those areas. I was, at the same time, carrying on a pleasant and friendly conversation with an old man, an octogenarian, as he was usually called, a man who was about to complete the December of his life and who was there to watch his children and grandchildren work in a nearby ranch. Among the topics we talked about were the stories told by old folks about that unique mountain well known for the limpidity which on that particular morning was evident on the summit and on the slopes. It was a sign of a fair weather, according to my interlocutor, who also said that when the summit was covered with clouds, it was a sign of rain in that province, and that when the summit and the slopes were covered with heavy clouds, it was a sign of the coming of continuous everyday rains. He says he learned all this and other things when he was a boy from an old man who, according to the legend, was the only one who managed to penetrate even the farthest corners of that big mountain, because he was a friend of the sorcerer Suku (the Invincible), who resided there. But anybody else who dared to step on the peak would be immediately punished with malignant and incurable diseases. That mountain was at first just an insignificant hill, surrounded by high moun- tains. When Suku grew old, he separated from his wife Mingan (another diva of high importance who resides in another mountain, which bears her name), and he chose that hill to be his dwelling. From then on, what used to be an insignificant hill gradually grew by some enchantment, into a mountain. The neighboring moun- tains moved away from it, as a sign of submission, while it kept rising higher and higher- amazing power!- until at last it was left all by itself, as it is at present, and so they called it Sinukuan, that is, respected or winner/victor. When the sorcerer Suku transferred there, he brought along his three daughters named Rosalina, Rosa-Minda and Doña Maria, and left behind with his wife the men, whose number, social status and names are not known. This is all what is known of the past of that being. As to how and when he was born (although people suspect that he was not the son of his mother), or as to whether he came out feet first or head first, or as to how and where he grew up,

23 etc., etc., tradition covered all this with the blanket of silence or ing when dark clouds formed above, lightnings that could almost the friend of Suku must have hidden the details from this old man blind crossed the sky, deafening thunders roared in every direc- I am talking with. tion. The story says that, a long long time ago, after Sinukuan was Given that emergency, the smartest among them, the one left alone in that vast area by virtue of the magical power of its who had found himself not as brave as he had believed he was, new occupant, his daughters often took a walk separately, reach- searched every one and found out that some of them kept in their ing up to the neighboring towns, developing friendship with the pockets fruits taken from that place. He urged all of them, for beautiful maidens (they did not like the ugly ones) whom they life’s sake, to leave behind everything that they carried so that met along the way to invite them to the palace. The first at- they would not all perish. They did that and, immediately, the tempt resulted in a problematic situation, because unknown to weather became normal. They found the path and were able to the one who invited, the would-be visitor carried a rosary under go back to their houses, but with downcast eyes and humbled. her inner garment as was the custom then, according to old folks. When the daughter of Suku found this out, when the two of them Be very careful. You might just be simply looking at someone reached the middle of the mountain, she asked her to throw that beautiful and you are already bumping against one of the object away because it had no use for her. When the young sinukenses! would-be visitor did not like to do so in spite Above all, when you are caught by a storm of the other’s insistence, and because of which in a deserted spot, remember these cases, the daughter of Suku found it impossible to go SUKU REQUIRED drop down right away what you are carrying, near her, she suddenly disappeared, and the MOUNTAIN CLIMBERS and if it is metallic or quasi-metallic, hand it girl with the rosary found herself surrounded TO RECITE THEIR carefully to this feature writer. That way, you by total darkness. will find yourselves delivered from any mis- She was found in that site, it is not known REQUEST FOR hap and, specifically, from thunders. how many days later, by some hunters who PERMISSION TO PICK had by coincidence reached it while chasing FRUITS FROM TREES II a prey and who fortunately were friends of According to the legend, Suku’s charac- the family of the girl. And so, from this inci- teristic generosity and his desire to gain the dent, the people of that area developed a habit of carrying the admiration of the entire area made him decide to grant a special rosary which, if we have to believe the reports, delivered so many favour to one of the towns of that province , a town which up to people from troubles of this kind. The people of that area soon then had been the least fortunate. He intended to demonstrate came to know about the unequalled beauty of those sinukuenses thereby the importance of gaining his favour. due to the detailed description given by the girl who had been For this purpose, he chose Candaba, within whose territory it enchanted. This excited the curiosity of many young men and stood. He planned to communicate with the people there by gave them the urge to carry an affair with those mysterious women uniting the mysterious mountain with the town, using a bridge of that mountain. Since they had no chance to see them around, made of rock, into which he would scatter gold again and again, they decided to look for them in their dwellings. with the end in view that, even if the people stopped doing their But when the foolhardy young men daily work, they would not lack anything they reached two-thirds of the height, they forgot needed. the reason for their walk because they were SUKU BUILT A ROCK Was he perhaps about to give to the distracted by the beauty of the various kinds BRIDGE BETWEEN Candabeños the philosopher’s stone, which so many fruits which, according to these young evaded the golden dream of Zosimus and his men themselves, would what the appetite of CANDABA AND HIS companions who unfortunately died before whoever saw them even if his stomach was MOUNTAIN THROUGH finding the universal panacea, whose motto dead. There was a formula which was gener- WHICH HE REGULARLY was: get the benefit without working for it? ally accepted and generally used by people Here is what happened. While the rocks who approached that area in order not to in- SUPPLIED THE which were meant to be the building blocks of cur the anger of Suku. Before touching any- TOWNSPEOPLE WITH the arches of the bridge were being made big- thing in that mountain, they said Apo dinan GOLD AND SILVER ger and bigger by Suku, making them assume mo ku pu, ke pung mangan karening tanaman the size of a humongous rock little by little, by mo, which means “ Lord or grandfather, please what magical process no one knows he was also give me this which I want to eat from your fruit trees.” But our sending his aeta servant (that is, belonging to the race of the ab- excursionists, who were by the way students; were either dis- origines of the country) to the site, carrying large baskets of tracted or they did not believe in that formula, and so each one crude gold under the appearance of ginger ( the root as recently got whatever he wanted except one who still had his goal in mind pulled out of the soil), which he gave to the people there in ex- and kept moving towards the summit. change for an equal volume of darak (palay husk), which is the But when this daring young man suddenly realized that he feed usually given to the pigs which they raised in that mountain. was alone in the place from where he could hear the shrieks of his According to the tradition, a short while after the crude gold alarmed companions, whose throats had begun swelling for hav- was placed in the container of the happy beneficiary (perhaps be- ing disrespectfully eaten the fruits without pronouncing the com- cause it had already been warmed up), it was turned into coins mon formula of asking permission, he suddenly found himself near which were then in use as money. After some more instances of a forest of trees that were so tall they were touching the sky. He this gold-generating process, our fortunate man started thinking got scared (even if he was considered to be very brave by nature) with his relatives on finding an economical way of getting the gold and he stammered out a few words of submission, which deliv- without going into the trouble of husking the rice to get the darak. ered him from that situation and made it possible for him to join One day, after having agreed on how and when to put their his companions, whom he found to be horribly disfigured. They plan into action, they separated from one another, each one keep- agreed unanimously to go back, but hardly had they started walk- ing strict silence, so that the affair would not be known by out-

24 WHO WAS ISABELO DE LOS REYES? Isabelo de los Reyes (Don Betlong) was his first wife died, he was not allowed to born in 1864 in Vigan, Ilocos Sur. Upon attend the funeral. He was deported to graduation from the San Juan de Letran, Barcelona where he was imprisoned until he took up special subjects in Law, Pale- the revolution broke out. He was repatri- ography, History and Anthropology lead- ated to the Philippines in 1901. He orga- ing to a degree in Notary Public. Being nized the first labor union in the country, underaged, he could not immediately the Union Obrera de Filipinas, and cam- practice his profession; he turned to jour- paigned against the transfer of friar lands nalism, editing books and leaflets, writ- to the Catholic Church. His son, Isabelo, ing almanacs and contributing articles to Jr. became the Obispo Maximo of the various Spanish periodicals. He was the Aglipayan Church while three daughters only Filipino at the time who openly de- became Catholic nuns. He died in Octo- bated with Spanish authorities; he was ber, 1938. thrown into prison several times; when

siders. Then the aeta came, carrying a large basket on his head. show them what that thing was really meant to be. After they As soon as they saw him, they all threw themselves upon him. He repeatedly and insistently and earnestly requested him to do so, tried his best to defend himself. But finding himself helpless he finally agreed to satisfy them. against so many attacking him like moors run berserk, the poor And so, one day, he drew from the bag a collection of three guy was left alone in the place. That way, they were able to get small eggs, the size of those of a maya ( a species of sparrows)and the gold gratis. having different colours at the middle. He thus found himself Suku got furious about this, of course. He left their heads in agreeing to entertain himself at the expense of his friends who the cloud and he punished all those who took part in the brawl by were asking for them. He showed them to those people and told giving them a very pronounced snout, which he also made heredi- them that whoever was able to get hold of them would acquire a tary. This feature is what distinguishes them now from other special power, namely that, while those were in their possession, Kapampangans. As to the assassin and his descendants, he shaded they could not de defeated by even the most powerful enemy their snout with fine hair. they would encounter. He left the bridge unfinished, leaving the already-constructed He then carefully placed those objects on a plate on the floor, feet the way one finds them now: blackish rocks. It is at present and at a given signal, everybody rushed towards them, pushing one of the danger zones there, a constant cause of concern for one another, elbowing one another- a spectacle! – but no one was those who pass by it in small boats during rainy able to lift the plates or the eggs from the days, due to the big risk of being hurled into floor; they were so firmly glued there as if a the rock by the strong current which whirl SUKU OFTEN SENT HIS mysterious hand were holding them in place. around it. It is a sign of the anger and clear AETA SERVANT TO BUY There was no force that could make the ob- vengeance of that benefactor whom those DARAC FOR THE PIGS jects move. But hardly had the people people paid with ingratitude for the favours HE RAISED ON HIS moved a bit away than they saw the small which at one time they had started enjoying. eggs go swaying again from one side of the He severed forever any communication MOUNTAIN plate to the other side. They at last got which the mountain used to have with outsid- tired of looking like crazy and so they gave ers, except with one in whom he lavished his favours, and the up any hope of satisfying their curiosity. details of whose story let us now give. The old Imbo then gathered back those objects and showed them two others: a small cross and a small book, and then made III another challenge like the first one: whoever would have the good In the vicinity of that mountain, there lived, a century ago, a fortune of having then would be delivered from all kinds of attack certain peasant, one among so many, who was known as Matuang by another person, and that, with them, they could jump real Imbo (old man Guillermo, William), and who as a young man, high and put them beyond the reach of their enemy; they could according to tradition, made himself worthy of great favours which instantly disappear from the eyes of all; they could travel in the up to now has never been granted to anybody else. He not only air to other countries and remain in space as long as they wanted. wandered in the whole mountain with no problem at all, but he All of them got excited again. They jumped towards them deter- was also able to penetrate every corner of it. mined even to break the baptism of one another just so as to It is said that, as a sign of his friendship with the powerful catch the prey. Suku, this man owned a bag whose magical powers were a secret Only the one who has witnessed the skirmish could get an for a long time, both to his family and to others. But the secret idea of how heads bumped one another, with nobody being bale did not remain such because its owner always hung it in one of even just to touch the desired objects, because the crucifix and the corners of his house, where people noticed the bag being the small book jumped and jumped, amazingly escaping the hands increasingly inflated everyday, and his friends and relatives who of the avid contestants, and, whenever the contestants were looked at it closer out of curiosity whenever he was away found it moving away, the objects went back to their place. always empty. The same thing happened while Matuang Imbo The process was repeated a thousand and one times and… was home and they dared to touch it without his permission. All nothing, the same result. these things made them decide to ask the owner to tell them or Now, what you do say, dear reader?

25 But, this was not all. There were other things inside the and whose ceiling was lost in space above. [ Footnote: it was the mysterious bag, but it would be too much to mention them all. palace of the sorcerer Suku.]. Nevertheless, we will mention some of those which follow the While our young man was absorbed in the contemplation of above-mentioned ones in importance. that edifice, an aeta ( a relative of the sorcerer), informed him One of them was a black upper limb cut at the middle of the that he should not just stand there, but that he should right away forearm, with veins, finger nails, etc., and it seemed to be alive. present himself before the author of all those marvelous things, To tell the truth, it is reported that this forearm can be called an if he did not like to lose his life for having entered up to there. “antidote to anger” (alpaca-ira), because, according to the story, Instinctively, he looked back to where he had entered but he it had the power to melt even the most intense hatred against found no trace of a hole which had served as his entrance. one who carried this amulet in his possession, because the latter Large drops of sweat instantly covered his body as he thought would speak before the other one could and would do so with a that he had fallen into the gloomy trap of a spell. voice higher than his adversary. What steps must one then take in such a distressing situation? Another one is an antidote against hunger, whose owner called Between the probability of certain death, if he did not present it Som (very similar to the root of Suma, a medicinal plant in this himself, and the hope that perhaps that powerful being would country), which, if put inside a person’s mouth, will enable that take pity on him upon seeing his innocence, he chose the latter person to survive for an indefinite period of time. option; and, plucking up courage, he unhesitatingly entered the And, lastly, another shining stone, the palace, accompanied by the aeta. biggest and most precious in the whole After passing through some surprisingly collection, according to the legend, which THE YOUNG, VIRTUOUS beautiful corridors, he and his companion attracted all and every single pialungan reached the principal stairs. He ascended or amulets that had been brought to that MAN ENTERED SUKU’S it upon the advice of the aeta and, upon province by their owners. Since they are PALACE WHOSE CEILING reaching the last step above, he noticed, not amulets of the sea, about which we “WAS LOST IN SPACE at the back of the hall, an old man; a bald, will talk when the time comes, they are ABOVE” short and fat old man. It was the sorcerer not beyond its influence. Suku. Dressed like the well-to-do elders of the land, he was reclining on a lankape IV made of ebony and adorned with gold and precious stones. While the misfortunes that befell some young men and the He stood up to receive them and, when our young man saw people of Candaba caused great fear among the inhabitants of this, he fell on his knees before him and implored his forgiveness. the area around Sinukuan, a young shepherd often brought his But instead of reproving him, as the youthful visitor expected, cattle there, confidently going to the midst hidden corners of Suku ordered him to rise up and very graciously invited him to sit that fertile mountain. on one of the silver benches encircling the hall. But not yet With no other weapon than the formula of requesting permis- recovering at that moment from the scare he had just felt, he did sion, which he was very careful to recite every time he entered not dare to accept the seat he was being offered. He remained the area or every time he wanted to do something there, he went standing as he spent a few minutes talking with the old man and, around without meeting any obstacle along the way. while doing so, he took occasional glances at the various corners And do you know why? Because, thanks to his poverty, humil- of that large building ity and integrity, he had gained the admiration of the deity of Hardly had he felt the calming down of the intense palpita- those forests, although he had not in- tion of his heart caused by the recent sur- tended to: because he was a young man THE SEVEN DOORS OF THE prises when his attention was again who, aside from being prudent, possessed caught, this time by the sound of foot- the special virtue of not aspiring after any- PALACE WERE GUARDED steps. They were those of another aeta, thing that was not righteous and, without RESPECTIVELY BY A LION, who entered trotting, leading two small his realizing it, his aura showed that he A TIGER, A BEAR, A VIPER, goats with velvet hair. was predestined to possess a pialungan. When he reached the middles of the He was the one who later learned A SERPENT, AN AETA WITH hall, he yoked them to a stand which was about that entire area from Matuang BOW AND ARROWS, AND A installed there. After that, he thumped Imbo. SAGASA, A FIERCE BIRD the two animals and they started moving The story says that, in order to make around and oh! The more tired they be- him worthy of Suku’s friendship, the lat- WITH CURVED BEAK came, the more pieces of gold they def- ter tested him several times and, where ecated, an ounce each, causing a pleas- others failed, he alone managed to pass the tests with admirable ant sound as they dropped on the iron floor of the palace. courage. Imagine what our young man must have felt deep inside him So, here is what happened. at that moment and what his eyes must have desired, if eyes are One day, while he was wandering around those areas, as he at all capable of desiring anything. habitually did, watching his cattle graze, he suddenly ran into a After that, the goats were substituted by very large cows, big rock which he was sure had never been there before. which defecated, not gold this time, but pieces of sinamay (tex- Amazed, the young man stood there, motionless. Then, af- tiles native to the place), and they did so with great pleasure. ter a while, he approached it in order to get a closer look and… Meanwhile, he endeavored to show himself indifferent to the oh! In the center of the rock, there appeared a hole, inside spectacle before his eyes, fearing to make an imprudent move which, far from being dark, it was bright, sufficiently bright. Right which would cost him his life. His greatest desire at that time away, he recited the formula and, after hesitating for a moment, was to find himself liberated from that difficult situation in which he entered the hole, curious to see more. he had become entangled without his knowing it. But imagine his astonishment when, once inside, he found But, unfortunately, it was not going to be that way, because himself in front of a palace with humongous gates made of bronze he was about to encounter other trials, more difficult and sur-

26 prising. he feared that he might be forced to stay there forever if he did When Suku found out that there was no indication that the otherwise; and he replied that he was indeed very grateful for it, young man would give in to those temptations, he brought him to but that he was very sorry to tell him that he was afraid to court the room of his daughters to introduce them to him and find out if the ire of heaven if he did not follow the advice given to him by their presence would break that iron will which appeared to be his father when he was a child, namely, not to aspire after more impossible to bend. than what was there and what ought to be there; to be contented But neither the dazzling beauty of those girls who were like a with the condition which he inherited from his parents (1) and, strong slap of the angry hand of an evil deity and caused the following their examples, to earn a living; and that he found it misfortune of many men who had allowed themselves to fall un- painfully necessary to refuse to accept the valuable gifts. der their deceptive influence; nor the warm and lavish attention At this point, they were already on their way back. They they showed him to seduce and conquer his heart; nor the attrac- went upstairs, where they saw the three sisters. Our young man tiveness of the rich table prepared as a gesture of welcome, filled greeted them but, as soon as he did, these three very beautiful with very delicious food, and a great abundance of gold and silver maidens were transformed, in one click, into very old women- surrounding it; none of these things changed, even a little, the toothless, bald, hunchback, with horrible voices. equanimity of that young man, who had such admirable prudence Instead of being caught flat-footed by this new development, and wisdom that he knew how to react and refuse diplomatically our hero grabbed this as the opportunity to tell his interlocutor to sit near the table, where, according to reports, very many that, if that was how the three looked like, he had no problem careless young men perished. accepting them as his sisters, but that, when they were beautiful After the meal, when the beautiful nymphs had gone back as they were before, he did not like them to be his spouses nor to their respective dwelling places, the old Suku told him how amazed be anything else to him, not because he despised beauty, but he was that a young man like him, who in because he knew from his own experi- his life had seen no other sun than that of ence that beauty in this world had only Arayat, could combine, at such early age, AS SOON AS THE YOUNG two aspects, both deplorable and bad, the virtues of prudence and composure, MAN GREETED THE THREE both for those who care for it and for which are acquired only with gray hair. In the women who possess it. Beauty is continuation, Suku told him that, as a con- VERY BEAUTIFUL chased after at all times here and there sequence, he would consider himself lucky MAIDENS, THEY WERE if it is accompanied by virtue, but it is if the young man would give him the high TRANSFORMED INTO despised, insulted and stepped on if it honor of choosing one of his daughters to is not. be his wife, that being the reason why he VERY OLD WOMEN-- An impressive statement! A strong had introduced them to him. The old man TOOTHLESS, BALD, conviction. And with that, our young also told him that if he did, he would have HUNCHBACKED, WITH man completely gained the admiration no reason to regret later; that, with it, he of Suku, who found himself impelled to would be prosperous, because, in recogni- HORRIBLE VOICES exclaim happily:” Prudent young man, tion of his consent, Suku would give him so pleasant to be with, whom I have all what he possessed and would appoint him the absolute master been hoping to meet for a long time now. You really deserve a of all his dominions and, consequently, he would be like Suku: better fortune, especially because you were not greedy for it! powerful. You are lucky, because you did not allow yourself to be carried He then invited him to go around the palace so he could see away by the attractive appearances you saw in my house, unlike for himself the importance of the wealth he was offering him. many who plunged to their misfortune because they thoughtlessly What called the young man’s attention more than anything else accepted what I was offering.. they coveted the great wealth I was the absence of a kitchen in a building like that. What the was putting before them and they thereby revealed that they inhabitants did was to get whatever they needed by enchant- looked at it as of it had been such a little thing that you could pick ment. it in any street corner without working for it and earning it. And The family members carried the table and everything that so, what did they get? Their damnation, their eternal damna- had been used during the meal (which they did every day after tion.” eating) to a place where a cloud of sunrays consumed it by de- scending there and covering it for a moment; the entire thing “Now, therefore, go back to your beloved family and live hap- then evaporated- read disappeared- the table and what was on it pily. You are not only free from the bad fortune which others – leaving no trace. 6 met due to their imprudence. Aside from that, you will be pow- The same process was followed with respect to their waste, erful the way I am, as long as you conduct yourself the way you which the family members of that house disposed of three times have done up to now, that is, prudently! a day. Go back to your house and I will send to you the guaranty of The detention cell or prison house of the rays, according to my friendship, which will make everyone esteem you even in the the arrangement of the forest deity, was also there, and these innermost quarters of my house, which is also yours from this rays, when the deity gives even the least signal, would rise up moment on.” roaring with a terrifying thunder, as if making the entire area One night, while he was alone and gathering his cows in the dumbfounded. Then, at a given signal, even only a slight one, cattle pen, Suku appeared to him and gave him the bag which they became quiet again, as if they were non-existent. had made him popular, and told him to make good use of it. The seven doors of the palace were guarded respectively by a lion , a tiger, a bear, a viper, a serpent, an aeta, heavily- (1) Footnote: there are many such statements in defense of apathy which are found in Filipino folk tales. Do these erroneous beliefs not at all contribute to built and armed with a bow and arrows; and a sagasa, a fierce- the indolence of the natives?- De los Reyes. looking bird with a curved beak. [Translator’s Note: Don Pedro Serrano is obviously biased in saying this because But the more attention Suku endeavored to show him, the he sees only his first sentence but does not see his second sentence. Ganar el sustento para sus necesidedes means to earn and to earn by working. The first more indifferent the young man showed himself to it all, because sentence is about dole-outs and aspiring after what is beyond one’s means. The second one is about honorably working for what you need and want in life. EVS] 27 SINUKUAN VERSUS THE AETAS’ MEMORY OF A PREHISTORIC ERUPTION SHOWER OF MUD, DUST, ROCK, AS WELL AS EARTHQUAKES, LOUD HOWLING AND A GREAT HOLE AT THE SUMMIT-- THE NEGRITOES REMEMBER A WHOLE CATALOG OF VOLCANIC ACTIVITIES ON MOUNT PINATUBO By Jose N. Rodriguez Excerpts from H. Otley Beyer’s The Ethnography of the exactly at the place where his head had been thrust forward Negrito-Aeta Peoples: A Collection of Original Sources (1915): only a few moments before. Long, long ago, ten-thousands upon ten-thousands of full Bacobaco bellowed in so terrible a manner and so much moons before the appearance of the first man on this earth, all flames escaped from his mouth that Blit only remembered to of the land bordering the sea, was ruled by the mighty Aglao, recharge his bow when the Sea Spirit was already near the lake the king of the “Spirit Hunters.” These spirits were powerful at the foot of Mount Pinatubu. Again, Bacobaco escaped injury and numerous. Their chief recreation was to transform them- by hiding himself under his shield. He immediately jumped selves into the form of living men and to spend their time hunt- into the lake but the water was so clear, that Blit could see him ing deer, unless Agalo needed them to drive away their common at the bottom. Finding the lake a useless place of refuge, he enemy, the terrible spirit of the sea, Bacobaco who, you know, climbed the Mount Pinatubu in exactly twenty-one tremendous makes the storms and the waves. Bacobaco was also extremely leaps. When he had reached the top, he at once began to dig a fond of deer’s meat and sometimes he would transform himself big hole into the mountain. Bit pieces of rock, mud, dust, and into an enormous turtle and suddenly appearing on the shore of other things began to fall in showers all around the mountain. the sea, he would sally forth into the hunting grounds of the During all the while, he howled and howled so loudly that the “Spirit Hunters” and gorge himself with deer to the neck. Aglao earth shook under the foot of Blit, Aglao and his hosts. The fire would greatly resent this, but he was powerless compared to that escaped from his mouth became so thick and so hot that this monster. How could he face Bacobaco who carried his thick the pursuing party had to run away. shield on his back, and who threw fire from his mouth. For three days the turtle continued to burrow itself, throw- However, one day, he consulted Wasi, the spirit of the wind, ing rocks, mud, ashes and thundering away all time in deafening and Wasi whispered into his ear “Why don’t you ask Blit, my wars. At the end of the three days he stopped, and all was quiet brother, to help you? He is the only one capable of killing again in the mountain. But the lake, with its clear water, was Bacobaco, for if he hits even the tip of his tail or a toe of one of now filled with rocks, and mud covered everything. On the sum- his feet, it will be enough to kill Bacobaco.” mit of the Pinatubu was the great hole, through which Bacobaco Agalo followed the advice of his friend and Blit was also an had passed, and from which smoke could be seen constantly com- enemy of Bacobaco, readily consented to undertake the work ing out. This showed that although he was already quiet, he was and to do all he could. still full of anger, since fire continued to come from his mouth. The following day the huge turtle appeared again, but Blit But now, you do not see the smoke coming out of the Pinatubu was quite ready for him this time. But as he carefully placed an Mountain any longer, and many believe that the terrible monster arrow to his bow, the wonderful Bacobaco saw him and immedi- is already dead; but I think that he is just resting after his exer- ately hid his whole body beneath his shield. The arrow struck tions, and that some day he will surely comeout of his hiding place again for a hearty meal on deer, and then, woe be to us.

28 NAMALYARI THE DEITIES OF MOUNT ARAYAT AND MOUNT PINATUBO HURLED ROCKS AT EACH OTHER IN A COSMIC BATTLE FOUGHT OVER THE CENTRAL PLAIN “Suku had a friend, a supernatural be- Zambales. The two giants saw each other from another giant who lived in Zambales ing also, whose abode was in the heart of and in an instant huge stones were hurled mountain. Cargon accepted the challenge Mt. Zambales. Formerly the Zambales against each other. The battle went on for and they fought by throwing big stones to range was not a range but a huge moun- two days and the opponent of Suku was each other. After their fight the enemy of tain. It was the greatest mount in the ar- beaten… Mount Zambales was shattered Cargon was killed but Cargon was also mor- chipelago then. This friend,one day, vis- into fragments and today we see a range tally wounded. It was said that at the sum- ited Suku and asked the hand of one of his of mountains called Zambales range. Mount mit of Mount Arayat there is a large flat daughters in marriage. Suku was mad with Arayat on the other hand received three rock where Cargon was supposed to have rage at his friend’s proposal and so the lat- tremendous blows and so its top has three stood, when he was fighting his enemy. A ter departed for his abode. The friendly big holes.” (Alfredo Nicdao, Sinukuan, few months later Cargon died and his son relation between the two supernatural be- 1916) named Suku inherited the mountain…. It is ings was converted into a bitter hatred. said that this Suku married the daughter One fine morning Suku was strolling on top “Cargon Cargon was very much con- of the giant of Zambales who had been the of Mount Arayat and to his indignation, he tented in this place and after a few years enemy of Suku’s father.” (Dominador G. saw his enemy strolling also on Mount had passed he received a decisive challenge David, Pampangan Folklore Stories, 1917) Sinukuan and Makiling THE TAGALOG DEITY’S THREE SONS KIDNAPPED THE KAPAMPANGAN GOD’S THREE DAUGHTERS, AND ALL HELL BROKE LOOSE “The time came when the town was three beautiful daughters unsurpassed by “One Sunday morning, the three put in great danger of being reduced to any of the princesses in the island of Luzon. princes happened to be in the town mar- ruins by a deadly duel between Sinukuan They therefore decided to ask their father ket. They were greatly attracted by the and Makiling, the king of the mountain of Makiling to let them go to Arayat to woo beauty of three peasant girls who were that same name situated in the southern the daughters of Sinukuan. After Makiling at the time buying darac. The three part of Luzon. warned them to take care not to arouse brothers decided to follow the girls in or- “Makiling had three sons who pos- the wrath of Sinukuan, the three brothers der to know where the latter lived. The sessed an adventurous spirit. Although departed. They went to Arayat incognito three peasant girls, after having done they were brave, his three sons lacked in in order not to arouse the suspicion of the their marketing, went towards the moun- them that noble sentiment often found town folks. They mingled with the town tain and when they arrived at its foot, among the royal families of old. These people, always busy looking for the daugh- the girls changed their peasant dresses three princes heard that Sinukuan had ters of Sinukuan. to those of royal families. The sons of

29 MOUNT MAKILING

MOUNT ARAYAT

SINUKUAN’S FANTASTIC 5 regretted very hands and hurled them towards Mount much that they Makiling. MEET THE FAB FIVE OF SINUKUAN: could not receive “Makiling was at that time slumber- SUPLA SUPLING, MIRAN MIRON, or accept their af- ing in his palace when he was awakened fections because by a tremendous noise produced by a KARGON KARGON, PUNTA PUNTING they had made a falling body. When he looked at the win- AND KURAN KURIN vow never to marry dow, he saw a horrible scene. His three but to spend the In another version of the story, Sinukuan had five servants, sons had been crushed to death. He be- rest of their lives namely, Kargon Kargon, the strongest man who could carry came furious and with his powerful voice helping the needy. the world on his shoulders; Supla Supling, who could create a cried to Sinukuan asking for an explana- “The three typhoon by blowing the wind; Miran Miron, who had a tele- tion for the death of his sons. Sinukuan princes were en- scopic vision with which he could see great distances; Punta who was standing at the top of Mount raged at their sec- Punting, who is the world’s best archer; and Kuran Kurin, Arayat answered that he had no expla- ond failure and de- who is the world’s fastest runner. nation to give except that Makiling’s sons cided to use their deserved that punishment. Then strength to get the Makiling took a huge pestle for pounding Makiling were greatly charmed and daughters of Sinukuan. The poor girls had stones and hurled it towards Sinukuan. thanked their Bathala for their good for- no strength to contend with the three pow- The latter saw the flying pestle and went tune. As the latter were not well dressed erful brothers. They soon found themselves down from the mountain. The mountain they decided to go back to the town and on swift horses with the sons of Makiling, of Arayat was struck at the top and a wait for the next Sunday. running away from Arayat. It happened great part of the summit was torn into “The time came and the sons of that a peasant farmer saw the eloping per- pieces. Many people of Arayat were Makiling, dressed in their royal attires, sons and reported the case to the town killed by the flying stones. Sinukuan, went to the place where the three daugh- folks. There was panic in the town. Ev- seeing the great havoc, took a very heavy ters of Sinukuan usually stopped before erybody was crying. Sinukuan soon heard mortar and hurled it at Mount Makiling. they ascended the mountain. They did the news and pursued them. With only one The latter was hit at the middle. The not wait a long time, when the three sis- long stride he succeeded in capturing the result was that Mount Makiling was re- ters arrived. The sons saluted courte- eloping brothers. After separating his duced almost into a hill. Thousands of ously and asked the sisters if they could daughters from the grasp of the three people were killed in Southern Luzon by help them carry their darac. The three brothers, Sinukuan asked who they were. this tremendous duel and Makiling him- sisters politely refused. Not contented Upon learning they were the sons of self seeing that he was defeated sought with this failure, the brothers declared Makiling he decided to kill them. Sinukuan rest by suicide.” (Cipriano de los Reyes, their love. The sisters replied that they grasped them all with one of his powerful The Three Daughters of Sinukuan, 1915) 30 Looking for Sinukwan: A researcher’s personal notes

A pre-war picture of Mount Arayat taken from the San Bartolome church belfry, with the Magalang public square in the foreground “THE TRADITION OF ORALLY TRANSMITTING FOLK STORIES IS GONE, BUT ALTHOUGH MY SEARCH DID NOT FIND SINUKUAN, IT YIELDED SO MUCH MORE” By Emerson Sanchez I consider it a fortunate experience that As I was perusing Edna Manlapaz’s of these narratives in his collection is Dean I developed an interest in Sinukwan (also Kapampangan Literature: A Historical S. Fansler in his Filipino Popular Tales, spelled Sinukuan) folk stories as a research Survey and Anthology, what struck me was originally published in 1921. In Filipino folk- topic. Having been raised in urban Angeles her claim that: “About the only group of lorist Damiana Eugenio’s Philippine Folk Lit- since the late 70s by business-minded par- folk narratives that are identifiably erature Series, some volumes published in ents, folklore in general was far from my Kapampangan in origin are those that re- the 1980s and 1990s include a few of these sphere of interests as a child and as an volve around the figure Sinukuan, the leg- narratives. But perhaps the oldest exist- adult. At most, I vaguely remember read- endary giant who was said to have ruled ing2 documentation of the folk narratives ing or hearing snippets of stories about over the entire Kapampangan valley from can be found in the Pampanga section (con- Mariang Sinukuan in relation to the safety his home on the top of Mt. Arayat.”1 Her tributed by Pedro Serrano) of Isabelo de los of climbing the mountain. But that changed work became a sort of scholarly treasure Reyes’s El Folklore Filipino, Volume II. The as a graduate student in 2000, when I was map for me as her work detailed the sources two-volume collection was originally pub- looking for a research topic. of printed Kapampangan folk materials. lished in 1889 and 1890. One of my revered mentors, a Bikol The largest collection of Sinukwan folk My fascination with Sinukwan folk nar- folklorist herself, encouraged me to look narratives I found were in the Pampanga ratives is their promise of a truly into Kapampangan folklore. Her suggestion Section of the Philippine Ethnographic Se- Kapampangan character. And this charac- led me to several months of research at ries of H. Otley Beyer, collected by his stu- ter is undeniably rooted in the actual orally the University of the Philippines Main Li- dents in the first quarter of the1900s. An- transmitted story. As a graduate student in brary. other American scholar who featured some a language program, if I wanted to make

31 conclusive linguistic analyses on the actual cities of Pampanga in October 2001. My ef- As I will later realize, the translations avail- (orally transmitted) stories, I needed to at forts yielded no positive result. The oral able are actually valuable materials in the least analyze manuscripts in the original tradition of transmitting folk stories was field of translation studies. language—Kapampangan—in which they almost lost. What remained were only snip- More importantly, in the few days of were told. pets or summaries of the narrative which my field work, I learned a lot of things about But the available materials were far informants (now in their old age) remem- the different towns and cities of my home from ideal; the extant copies were mostly ber from their childhood, as members of province, so much more than in the sev- translations in English and Spanish. Some the audience of the oral tradition. Among eral years of actually growing up in Ange- were in Kapampangan but, judging their the people I interviewed, none of them les. These discoveries relate to geography, literary and linguistic forms, these may became traditional folk narrators who could livelihood, language, heritage, and cultural even be creative adaptations or embel- have continued the tradition of narrating practices. The experience became an op- lished versions, and not the exact written these stories to the next generation. portunity for me to connect more with my version of the orally transmitted folk nar- Is it a lost cause? I am not certain. I province, its people, and its traditions. rative. don’t consider my fieldwork to be conclu- In the end, I set out looking for Sinukwan I considered most of the available ma- sive of the current state of the narratives’ but what I found was so much more. terials unfit for my intended study because preservation through oral tradition. I may I believe that the translation process must have followed the wrong trail among my NOTES have, in some way, altered the story that 1. Edna Manlapaz, Kapampangan Literature: A informants or perhaps a few more days of Historical Survey and Anthology (Quezon City: Ateneo was originally narrated in Kapampangan, fieldwork might have led me to a traditional de Manila University Press, 1981). p. 6. and, in my point of view, “corrupted” the narrator of the story. 2. This statement also serves to correct the indigenous character of the folk narratives. My fieldwork may have been unsuccess- information previously published in Singsing (Vol. 2 No. 1) that described the documents found in the Beyer So given that situation, I set out on a ful but I was still able to write a few re- collection as “the earliest written accounts of the few days of fieldwork to five towns and two search papers on the available materials. Sinukuan story” (p. 7). MYTHS VERSUS FACTS MYTH: ARAYAT IS STILL ACTIVE AND MAY ERUPT ANYTIME FACT: THE LAST ERUPTION OCCURRED 530,000-650,000 YEARS AGO By Joel Pabustan Mallari Central Luzon includes three major geographical divisions, must have followed this first eruptive period. Consequent to the namely, the Zambales Mountains, the Central Plain and the Cor- buildup of magma in the top region of the molten rock cavity, this dillera Central. The Zambales Mountains are a range of high old volcano experienced its second and last stage of activity be- rugged peaks trending slightly west of north. The Central Plain tween 530,000 and 650,000 years ago (+50,000 years), thus mak- embraces the intermountain area of Central Luzon. It is an al- ing the Arayat an active volcano up to 2,000 B.P. (0.53 and 0.65 most level plain, rising only a few meters above sea level. It is million-year-old basalts that predated collapse and subsequent for- characterized by poor drainage and frequent flooding. Several mation of the lava dome) perhaps referring to its thermal activity. peaks dot the extensive alluvial plain: Mt. Balungao, elevation Myth: Mt. Arayat is really several mountains that make up 377 meters; Mt. Bangcay, 400 meters; Mt. Amorong, 386 meters; the rugged peaks, includes the major twin peaks, the White Mt. Cuyapo, 240 meters, and Mt. Arayat, 1,030 meters. On the Rock and the amphitheater formation. other hand, Mt. Pinatubo is the most prominent peak among Fact: It is a single cone Quaternary volcano. Explosive erup- the crests of Zambales Mountains. tions on the western flank of the volcano explains why it does Myth: Mt. Arayat and Mt. Pinatubo belong to the same type not have a perfect conical structure. The eruptions as docu- of volcanic mountain group. As generally believed among folk mented, must have triggered massive pyroclastic flows and base stories, they are mikapatad (siblings). surges, and minor lava flows besides tephra fall,. S. Geronimo Fact: Dr. Jean Christophe Gaillard summarized two oppos- – Catane has estimated the amount of debris avalanche materi- ing theories on the volcanic alignment of Mt. Bangcay, Mt. als triggered by the eruption at 0.75 km according to the miss- Amorong and Mt. Balungao. The first theory considers it as the ing volume of the amphitheater that now forms the top of the back arc of the western Central Luzon arc that stretches from volcano. Mariveles Mountains and Mount Natib, to the Zambales Moun- Myth: The White Rock which is also called Maputing Batu tains which include Mount Kuadradu, Negron and Pinatubo. The (and Piedra Blanca before) is a rich formation of limestone and/ second theory makes it an arc by itself, independent from the or white marble. Western Central Luzon arc. In either of these two theories, the Fact: After the last recorded eruptive period the degassed formation of these two volcanic arcs is linked to the subduction and more viscous magma of the then active Arayat volcano pro- of the South China Sea plate along the Manila trench. truded as a lava dome. This partly revealed outcrop started to Myth: Mt. Arayat is still an active volcano that at any time form possibly after a large crater breached on the west-north- may erupt. west side which is the apparent source of a major debris-ava- Fact: It was Michael Bau, a French scientist who made most of lanche deposit which now forms a hammocky terrain beyond the scientific documentation of Mt. Arayat’s petrography and the west and northwest sides of the volcano. Post-collapse ac- geochemistry. From his findings, he suggests significant data about tivity formed an andesitic dome known today as White Rock in the eruptive history of the said volcano. The first eruption phase the collapsed amphitheater. This extinct volcano consists of of the volcano has not been dated but it must have spewed out tertiary and later effusive rocks, mostly rhyolites, dacites, andes- basalts and pyroclastics. A period of stillness of uncertain extent ites and basalts.

32 SUKU AS A HISTORICAL FIGURE WAS THE LEGEND BASED ON A KING OF LUZON ISLAND? COULD SUKU OF PAMPANGA AND LAKANDULA OF TONDO BE ONE AND THE SAME? By Joel Pabustan Mallari

Mt. Pinatubo is often called Apu “Fo Lang Ji”). Pangilinan however, cautions nila Bay area, most probably the Tagalogs Maliari, Namalyari, Mayari or that this document might have been com- if not also their Kapampangan neighbors as Pungsalang, while Mt. Arayat is variously piled at a later date (1618, after the Span- what Valentino Sitoy and William Henry referred to as Suku, Sinukuan, and iards had arrived in Luzon); thus further Scott suggest. A 13th-century account of Apulaki. In a 1967 thesis done by Wang Teh- research may yield better understanding Chao-Ju-Kua provides important notes on ming entitled Sino-Filipino historico-cul- of this previously interpreted entries. early Philippine ports and the domestic pat- tural Relations, he made use of old Chi- “Lusung” as Luzon terns of trade in relation to international nese documents trying to reconstruct the Luzon is the largest island in the archi- trade network. It was in 1372 (or 1373 in relations between the Chinese and the pelago, which, according to geographer some sources), when Liu-sung (as recorded early settlers in Luzon. Historian Michael R.A. Skelton, was known first to the Chi- in the Ming Annals) responded to the invi- Pangilinan and linguist Hiroaki Kitano ex- nese as Liusung (or Lusung). The Portu- tation of Hung Wu, the first emperor of amined passages from Wang’s documents guese chronicler Tome Pires called it Ming Dynasty by sending a tribute mission about a certain “suku” (or sukwu), (the) Luçoes (Luzones) in his Suma Oriental of to China, three years (or four in some “king of Lusung”, and (the) “pulangki” (or 1512, as he referred to the people of Ma- sources) after the Ming Dynasty ascended

33 “TO THE HONORABLE AND MOST ESTEEMED LADY, MADAME MARIA MAGDALENA DE PAZIS SOLIMAN LACANDOLA, MUNICIPAL HEAD OF THE CAPITAL TOWN OF BULACAN, MATRIARCH OF THE LACANDOLA CLAN, CHAIRPERSON OF THE YOUNG WOMEN’S LEAGUE.” This is probably the coat of arms of the King of Tondo, Lakandula (Lacandola), which features a lion and a tiger. The Kapampangan boast “Keng leon, king tigri e ku tatakut, keka pa?” probably originated from this coat of arms. Source: Fray Pedro Andres de Castro, OSA (personal chaplain of Doña Maria Magdalena de Pazis) Facsimile edited by Antonio Graiño (Madrid: Libreria General de Victoriano Suarez, 1930). This picture was sent to Dr. Luciano PR Santiago by David RM Irving, Clair College, Cambridge, UK.

34 to the Dragon Throne as what William Henry was also mentioned in Adelantado Miguel chronicler of Ferdinand Magellan), cap- Scott (in 1989), Epistola (in 1977) and Lopez de Legazpi’s report in 1567, in which tured this prince of Lü-sung while cruising Skelton (in 1963) recorded in their respec- he sent word to a certain “King of Luzon” along the Bornean coast. This prince who tive works. Gregorio Zaide’s work in 1990 that he would like to open trading relations would later be known as Rajah Matanda mentions that Luzon traders from a polity with him. This “king” is said to refer to of Manila and son of Sri Laila (Suliman), known as San-tao, regularly went to the Lakandula of Tondo. If Pangilinan is pre- defeated his cousin, the old Lakandula of southern Chinese coast at Küang-cho (Can- cise in his preliminary findings, the “Luzon Tondo, and placed his youngest brother Si ton) on trading expeditions at the time (AD King” he interpreted might be the person Banau as the new Lakandula. 1400 to AD 1500). By the 15th century Japa- recognized by the Ming emperor, or the Arayat and Lakandula nese settlers had already been found liv- Lakandula of Tondo. These two “encoun- In a brief postulation made by ing in Manila, Mariveles and Subic Baton ters” might be referring to the same per- Z.A.Salazar (Veneracion 1986), he sug- on the west coast of Luzon Island; Japa- son since they are contemporaneous to gested the most possible existence of two nese ships also sailed along the Ilocos coast each other. major group of settlers thriving along the to buy raw cotton, tina (indigo), gold and Suku and Apulaki coastal-riverbank regions “i.e. the rivers pearls. According to Fay-Cooper Cole’s 1912 If Mt. Pinatubo is referred to as Apu of Pasig and Pampanga – Tondo (which in- Chinese Pottery in the Philippines, trade Maliari, Mt. Arayat is called Apulaki. These cludes Meycawayan and probably Calumpit items most sought by the Nipponese (Japa- two prominent topographic features are and covers as far as Pampanga) and may nese) were ceramic jars that had been joined by another prominent peak, Mt. muog of Manila”. Even the earliest docu- brought into the islands by the Chinese or Cuyapo located approximately 50 km in the ment, the Laguna Copperplate Inscription seafaring local traders during the Sung and north of Mt. Arayat. All mountains bear the (LCI) confirms an early association of Yüan periods, which they prized for the name apu or apo indicative of an honor- chiefdoms, like Tondo and neighboring vil- storage of tea leaves. lages from as early as These jars apparently 900 AD which actually were part of the Placenames Kapampangan association English gloss covers certain old “Luzon Wares” that and interpretation If apu = ancestor Manila Bay area as became famous in the what Dutch area. Mt. Arayat Apu Laki (lalaki ?) Great ancestor (male ancestor) Palaeographer “Luzon King” Antoon Postma On October 17, Mt. Cuyapo Kuya Apu Older (brother) ancestor (1991) describes. 1405 Luzon, together The old with Mao-li-wua and Mt. Pinatubo Apu Maliari Lakandula (Dec. 16, envoys from Java, (or Apu Mal a Ari) Great and precious ancestor 1503 – Mar. 21, 1589) presented tributes; said to be a native of the Chinese govern- Olongapo City Ulu nang apu Ancestor’s headwater, Tabungao of Kalumpit ment sent an imperial (or ancestor’s leadership?) Province (now decree to Manila, con- Bulacan), was the firming the rulers of Luzon in their posi- ific title. Similarly, in Zambales in the sovereign chief of Tondo. Again if the ini- tions as found recorded among Chinese southern part of Mt. Pinatubo is the City of tial translations done by Pangilinan are pre- annals, the Ming Shi and Ming Shi Lu. It Olongapo, whose name also bears the hon- cise in identifying certain names (?) like was in this same year when probably after orific apo. Suku, King of Luzon and Apulaki, these the tribute missions prospered, a great Fr. Edilberto Santos suggests that this entitles might refer to only one person in Chinese fleet of more than 60 vessels and apu term may also be referring to ances- the name of Lakan Dula, the old lakan of 27,000 people under the command of the tors somewhat identical to ari (as the sun). Tondo, the king of Luzon, the recognized now famous Admiral Cheng Ho is said to Using Fr. Diego Bergano’s definitions for leader by the Ming emperor and that of the have passed through the archipelago, vis- sukú (or sucú), the above mentioned people in Borneo. Thus considering this hy- iting ports in Lingayen, Manila Bay, Mindoro placenames can be fitted geographically as pothesis, it was during the time of and Sulu. The economic importance of follows: Lakandula, when he was the sukú, chief of Luzon to the Chinese government was ob- The three mountains Arayat, Cuyapo Tondo, then the rising capital of Luzon vil- viously felt in the region. Skelton also men- and Pinatubo act as terminal markers, like lages encompassing figurative markers from tioned a Chinese governor named Ko-ch’a- Pinatubo being associated with the west- as far as Mt. Cuyapo in the north of the lao at he was appointed for the island of erly setting of the sun idiomatically called Central Plain, Mt. Arayat, Mt. Pinatubo Luzon. sucsucan ning aldo. Bergano also recorded down to old Olongapo area (the area that Another Lü-sung mission went to China sinucúnang danum, or mesucúnang breaks the chain of Zambales Mountains). bringing presents such as “small but very danum, when the water or the tide reaches This is the area that is geographically cov- strong” horses, while the celestial Ming its ordinary peak, like on a full moon, or in ered by the vast claims of properties in Cen- emperor reciprocated with gifts of silks, a flood. This folk wisdom can be associated tral Luzon mentioned in “The Will of strings of copper “cash”, porcelain etc. or related to the Kapampangan interpre- Pangsonum” discovered by Luther Parker for the “King of Luzon”. Two more visits tation to the placename Olongapo. in 1911-1913 in Candaba, Pampanga. The were made from 1410 and 1412 by the The relationship of the two terms sukú Pampanga nobility were closely allied with great Chinese fleet which visited once and apu are further justified in Bergano’s the royal family of Tondo. The fact that again the different ports of the archi- work, noting the example sucúsucúnen Dionisio Kapolong of Candaba who was once pelago before proceeding to southern In- tua, meaning he has reached the peak of part of the old Arayat’s Balen ning Pambuit dia, the Persian Gulf and the coast of Af- old age. Historically, it was in 1521, when was Lakandula’s son, and one of his broth- rica. Si Ache (who at one time was captured by ers and two cousins were among the cap- Moreover, a certain “King of Luzon” the group of Italian Antonio Pigafetta tives taken in the Bankusay battle.

35 Left map shows the area where the massive landslide occurred on the slope of Mt. Arayat which revealed the lava dome (White Rock). Right map shows Pampanga being sandwiched by two volcanic chains-- which probably inspired the myth of the warring gods. LIVING BETWEEN TWO VOLCANOES HOW THE VOLCANIC ACTIVITIES OF ARAYAT AND PINATUBO SHAPED LANDSCAPES AND MINDSCAPES IN THE KAPAMPANGAN REGION By Joel Pabustan Mallari Chain folkstories blinded (struck by his/her brother’s spear) actually forms a virtual division that cre- The strong imaginative character of by his/her brother reduced his/her glow ates a place for the affected observers. figurative understanding of natural land- thus becoming dimmer at nighttime. Thus the demarcation of this observers’ marks in Kapampangan is not an exclusive Geophysical trait location places its position to the present and unique culture to claim. But it may be Mt. Arayat was often regarded as the provinces of Pampanga and Tarlac. looked upon as a way of how the people eastern mountain which has some basis Philosophical “sun” treated this landscape then and now and especially if it is considered by its “other By extracting the key concepts of then. Mythically speaking, the mountains spelling” as alaya. This term is noted in the chained folktales, the “god” that the of Arayat and Pinatubo always been looked 1860 Bocabulario of Fray Diego Bergano. It people see are considered figuratively as as “gods” and “supernaturals”. Mt. Arayat is in this aspect where questions of direc- both “sun” and “king” combined. Episte- is often impersonated variously as Suku, tion arise. One question is regarding to the mologically speaking, the Kapampangan Sinukuan, and Apulaki in some folktales; relativity of its being “eastern”, east of “aldo” and “ari” share concepts among while Mt. Pinatubo is often regarded as the what? East of Pinatubo, perhaps. If that is their cognates to other Southeast Asian lan- brother (or sometimes a sister) of Mt. the case, who lives beside the Pinatubo guages (Austronesians). Natural phenomena Arayat known as Maliari, Namalyari by the area – at present this “area” is predomi- in the sky are significantly considered to Aitas, Mayari in some folktales, Pungsalang nantly peopled by at least 2 groups of Aitas them as “god” or “god’s works”, example etc. The general run of the story indicates and the Kapampangans. in Indonesia, “matahari” is the sun, while the partitioning of rulership of one whole What determines the direction of east “bahaghari” and “pinanari” is the rainbow day, which is during daytime the “sun god” and west can be relatively relied on the word to the Tagalogs and Kapampangan who resides from the Mt. Arayat rules and cycle of the sun’s movement: the sun rise respectively which both literally mean as during the night stretch the “moon god” from the east and sets from the opposite sun’s loincloth. The fact that the ancient that hails in the Pinatubo mountain takes end, in the west. If that is so, Mt. Arayat’s word “ari” in Kapampangan meant as the over. The daytime ruler have brighter eyes location justifies its being “eastern” and sun is very similar to Tagalog “arao”, thus that makes the day time bright and the relatively locates Pinatubo as the west end. making it as a significant reference at least nighttime ruler with his/her one eye Indeed, the location that sets them apart for the early sense of direction, the ancient

36 setting of time and so forth which heavily atically called before as sucsucan ning aldo, brought by the major rivers that originate dictates the evolving culture of the early which literally means the “sun that pricks” from the slopes of Mt. Pinatubo. According people(s) in the area. This concept may referring to the location on the western di- to geologist Christopher Newhall, around have been regarded and revered such that rection, known as albugan, or kalunuran. It 2,000 years after the rise of the sea level, the sun becomes a “king” for its importance is in same way the term paroba is assigned another major eruptive history of Mt. and “highness” and is woven to folkstories which refers to the westward direction di- Pinatubo occurred, dubbed as the Crow as part of early people’s memory handling. rectly opposite paralaya. Just imagine how Valley Eruptive Period (~6,000-5,000 yr B.P.) In fact, a prominent Kapampangan surname stunning is the imagination and their strong which was during the early part of this ac- – Mallari and the known Aitas’ god Namalyari dense of direction of this early people, see- tivity where at least four thick pyroclastic bear the same etymological meaning as ing Suku as a “bright god”, the “precious sun” flows also form prominent layers and ter- “precious sun”, which only indicates the sig- that ascends from the east at the back of the races in the present Sacobia River. Today nificance of this brightest celestial body silhouette of Arayat mountain and attains its this area covers much of the present site known and popular to ancient people. “pangasucu” at noon time and being comple- of the Tarlac-Pampanga boundary which Finding ancient kapangpangan setting mented by the setting grace of Maliari in the was formerly known as La Alta Pampanga Kapangpangan or kapampangan as a west as it is drowned by the ruggedness of during the Spanish Period. These fluvial place actually refers to the region of Zambales Mountains especially when it be- deposits blankets the lower area of the fu- riverbanks or coastal areas. This setting is comes meguintalang, the reddened sun as it ture sugar land of Tarlac Province, dependent on the ever changing and active nears the horizon mentioned by Fray Diego emplaced, voluminous pyroclastic-flow movements of river patterns since most of Bergano in his 1732 work. deposited among the headwaters of the the major rivers in the present lower half Another cycle of natural phenomena O’Donnell River which were the source of of the Central Plain have their headwaters breaks this daily pattern at least every sev- fluvial sediments forming the present rich originating from the slopes of Mt. Pinatubo. eral generations which is the erupting ac- sandy loams. Thus if there were already In some geological studies, it was hypoth- tivities of Mt. Pinatubo. The eruptive his- people residing in this old area, most likely esized that the palaeoshoreline of Pampanga tory of this volcano has had records of its that they later migrated southward mov- is traceable up to the area of Guagua and last two periods prior to the last 1991, ing away from the Pinatubo area towards Bacolor, thus making the old kapangpangan namely the Maraunot eruptive period the newly reclaimed land in the south setting located on the middle part up to the (~3,900-2,300 yr B.P.) and Buag eruptive which is now part of coastal Pampanga. The present Tarlac-Pampanga. period (~1500 yr B.P.) which affected the location of Mt. Arayat and the mountain On the other hand, as it was generally lives of these early inhabitants. The fact group of Pinatubo in Zambales provide fo- known that the sun rises in the east, the ini- that archeological findings already pre- cal point of direction and location of tial impression is something to be expected sented evidences of large habitation sites people(s) found living or situated between at least for the early settlers of this region. in Porac and in San Marcelino, Zambales, them which is prescisely the old In consequence, it already explains the un- at various stages of time as early as even Kapampangan setting, the old deltaic plain. derstanding of how the ancient people see before the Maraunot eruptive period in It is in this case that the old alluvial plain the location of Mt. Arayat as “alaya”, the Porac. This only proves that these particu- which is relatively much lower in elevation dawn which makes Mt. Arayat as the “east- lar areas were once populated and repopu- compared to the present area of the Tarlac- ern mountain”. This might also explain the lated for several period during the course Pampanga boundary, that the early settlers old term “sucu”, which is defined by Fray of the Pinatubo eruptive history. in the area have seen the highness of alti- Bergano as “the terminal or end (indetermi- Fitting puzzles of Arayat, Pinatubo and tude of both mountains. It is this perspec- nate end)”, and in this case the rising point Kapampangan tive that these two giant natural features and fullness of the sun’s light (and shape). It is in this synthesis of understanding, appear more striking as landmarks to the Can this explains or contradicts the “growth” where the early spot of the old coastal area immediate universe of these early settlers. of the other, which is the literal definition of of Pampanga can be partly traced. Firstly, The palaeoenvironment of the former plain the Pinatubo name? Other namesakes asso- if the location of Mt. Arayat proves to be made them farmers of the plain and fish- ciated to Pinatubo include Pungsalang, which directly found on the east, it relatively lo- ermen of the rivers and coast. It is prob- is regarded as the “god of enmity”. Is it be- cates the opposite land most likely the ear- ably for the same reason that the sun and cause of Pinatubo’s early active state as what lier deltaic plain now thickly covered by the moon played both as “ari”, the early people probably witnessed when it the present land area of Tarlac-Pampanga “mikapatad a aldo at bulan” in sustaining brought ancient volcanic disaster in the re- boundary. Secondly, this area is actually the their dependency of livelihood and the in- gion? The dim image of Pinatubo might be central portion that covers most likely the tricate weaving of their belief system to- associated to the setting sun as it was idiom- ancient fanning action of sediments ward their old kapangpangan land. Cross-section of earth’s crust beneath Central Luzon, showing how the subducted oceanic plate caused the 1990 earthquake which eventually activated Mt. Pinatubo in 1991. Mt. Arayat remains inactive.

37 FOLK ART AS THE PROLETARIAT’S ATTEMPT AT FINE ART

THE COMMON FOLK HAVE LIMITED MONEY AND LIMITED EDUCATION, BUT UNLIMITED TIME AND UNLIMITED IMAGINATION By Robby Tantingco

Folk art exists because high culture is inaccessible. High culture, wrote Ernest van den Haag, is “entirely When the moneyed principales purchased silver fittings dominated by people with more than average prestige, power for the friar’s retablo, the folks in the barrio who wanted a and income, by the elite as a group.” If that is the case, similar thing for their chapel looked for cheaper alterna- then folk art is the people’s own institution. Folk art de- tives, and that’s how they found yellow brass and invented mocratizes art; it allows the poor to experience the plea- pukpuk. sure of art appreciation that otherwise only the wealthy For over 300 years, the Spaniards kept the Bible out of and the educated have a monopoly of. It is an instrument reach, only giving the Indios scriptural installments of read- for breaking down the barriers between the aristocracy and ings, homilies and quotations. Not quite content with piece- the masses. Folk art should not be mistaken for mass cul- meal salvation, the common folk memorized these glimpses ture, which is the vulgarization of art. When designs and into God’s Word, put them together and produced their own creations become mass-produced, like those accompanying Bible, the pasyon. brand names and product lines, that’s mass culture. Thus, folk art is a proletarian attempt to recreate the The German for mass culture is kitsch, and kitschy folk art of the rich, using whatever resources are available to art definitely is not. The papier mache Nativity dolls of them. Folk art is in a way also a protest against the inacces- Apung Eloy will never be displayed in malls and department sibility of high culture. And sometimes, revenge is sweet stores but they will look perfect in a grassy island on an because folk arts far outnumber and even outlast high cul- intersection in Brgy. Cutcut. Kitsch is not inherent in the ture. In some instances, folk art is even more beautiful. dolls; they become kitschy only when they are put in a place Beauty is, of course, in the eye of the beholder. Still, they’re not supposed to be. we gasp at the exquisite detail of an ivory santo imported Nowadays, the rich descend on the barrios to buy folk from Spain or Mexico, but we react the same way when we artworks and display them in their mansions and palaces. see the misshapen form of an antique Bohol santo. The How ironic that the poor who have been deprived of access symmetry of a Shakespearean sonnet can be found in the to high culture have produced folk art that now become measured cadences of a Totoy Bato polosa. And who can fixtures of high culture. Folk art has not only liberated the really tell the difference between a Spanish nougat and a poor, but has also invaded the rich. turrones de kasoy? I, for one, prefer the taste of a slightly The revolution has finally triumphed in, of all places, burnt bringhi to the blandness of a paella. art.

38 COVER STORY: PAMPANGA’S VANISHING ARTS AND CRAFTS

Dukit Betis Brief ethnohistory of the furniture and woodcarving industry in Pampanga

Juan Flores of Sta. Ursula, Betis carved and installed the three large wood and glass chandeliers in the Ceremonial Hall of the Malacañang Palace in 1979. Below, bamboo woodcarving made in Mexico, Pampanga in 1887, now on exhibit in a museum in Spain By Joel Pabustan Mallari with Arnel David Garcia

One of the many specialized crafts or town, annexed by Guagua only in 1904. known in the Philippines is woodcarving and Among the old barrios which originally com- wood sculpture. This area actually covers posed this former town are San Juan a wide range of wooden art pieces, from Bautista, San Juan Nepomuceno, San the Spanish-era religious images (variously Nicolas, San Agustin with its Sitio Virgen de called as malasantu, santo, rebultu) to the los Remedios, San Miguel, Sta. Ines and Sta. modern pieces of furniture now being ex- Ursula. Most of them are situated on the ported abroad. Presently, fine woodcarvers old riverbank area of southern Pampanga. in the Philippines include the manlililok of In an 1853 report, Sta. Ursula was not yet Paete in Laguna, the Ifugaos of the Cordil- listed among the six early barrios of Betis lera region, and the Maranaos and Tausugs recognized that time. Fray Diego Bergaño of Mindanao. In Pampanga, the most rec- cited Betis seven times in his 1732 version ognized woodcarvers collectively come of the Vocabulario giving significant men- from the mandukit of the old Betis district tion of the town’s early role as entrepot of Guagua. before going to Guagua, Bacolor and Mexico Betis’ role in Luzon history which is most likely via the old Betis River. As mentioned by John Larkin in his book In fact, Fray Gaspar de San Agustin ac- The Pampangans, Betis was one of the 11 counted in his Conquistas de las Islas most important towns (with Lubao, Filipinas, 1565-1615, that Betis was the Macabebe, Sasmuan, Guagua, Bacolor, most fortified fort throughout Luzon. The Apalit, Arayat, Candaba, Porac and Mexico) old riverbanks of Betis and Lubao wer Mus- at the beginning of the Spanish Period in lim settlements where they once thrived. Luzon. In the past, Betis was once a pueblo Betis’ famous palisade fort was immedi-

39 ately copied in the construction of ing old shipwreck and downed carrier trucks River for the part running from Sta.Ines go- Intramuros after 1572, when only Lubao and which look like the vehicles used in the last ing to Plaza Burgos, the one that connects Betis resisted the Spanish conquerors. The World War. with the old Dalan Bapor River in downtown presence of the old rivers of Betis and The old folks in the area believe that Guagua). This supply came from the forested Lubao made them strategic not only for their village is the oldest in the tradition upper Pampanga area and eastern Bataan economic reason but also for military pur- of pamandukit (woodcarving) and along the foothills of the Zambales Moun- poses. In Sasmuan, old fishermen in the pamaganluagi (wood working) in the tains. Dadaras or mandaras (boatmakers) area still recalls a long strip of coastal area Kapampangan province. Besides, it is also regularly received rough hollowed logs (from Guagua to Sasmuan) and an old river known as a home of the old dadaras (or called baul which were then turned into fine named Paglalabuan. mandaras, the traditional bangka makers). carved boats. According to old folks of Paglalabuan beginning In the past they supplied most of the vari- Sta.Ursula, expert boat makers are called In the district of Betis, the village which ous bangka (boats) in Pampanga and nearby as matenakan dadaras. To this day, the baul produces most if not all of the sculptured coastal and riverbank villages in Orani, suppliers are called atseru (most likely de- pieces and carved furniture is Sta. Ursula. Dinalupihan, Samal, Hermosa, Abucay rived from the Spanish term hacha, an ax This village, said to be the oldest, is lo- (which also produced this type of boats), type tool used for logging) while baul mak- cated on the old riverbank area. It was all of Bataan, Kalookan, Malabon, Navotas ers and loggers are both referred to as known before as Paglalabuan, as well as (especially in Sta.Cruz), Valenzuela, the mamaul. Logs usually come from Bataan, “pulu”, “danuman”, “sadsaran”, an “is- provinces of Rizal and Bulacan (Pamarauan, especially in Kuló, Dinalupihan and Hermosa. land”, a “water edge community” and a Hagonoy, Binuangan), Cavite, Batangas and Pampanga 17th-18th century folk fine “port”. An old placename found among old as far as Mindoro. Their boats were carved arts maps and also as part of an oral folk his- out canoe types known before as balutu Philippine furniture absorbed artistic tory literally influences from different meant a deposi- WOODCARVING THRIVED IN BETIS LONG BEFORE cultures who made con- tion area of silt. JUAN FLORES HOGGED THE LIMELIGHT IN tacts with the islands. As The local folks say Professor Regalado Trota that, in the 1980s, THE 1970S. PRE-HISPANIC BOAT CARVERS Jose noted, many 17th cen- pieces of old Chi- STARTED THE TRADITION tury pieces manifest nese blue and touches of Chinese design, white porcelains were found at the bottom (var. baroto). Collective memories of old while later 18th century pieces are known the river. In the 1970s after the great flood folks (boat makers and woodcarvers) in this to have inlaid designs. Rococo forms, fash- of 1972, a tsunami (probably the great tsu- district and nearby areas still remember ionable European trend from French, Victo- nami of 1976) struck Bataan’s eastern the time when the supply of logs and other rian and new American designs became coastline causing the rivers of Pampanga timber materials flowed along the old Betis prominent. Furniture craft achieved a level particularly the Pasak River to drain, ex- River (various tributaries of this old river of excellence during the 17th and 18th cen- posing the step-like slopes of the were called “Ilug Palumo”, the downstream turies. Central Luzon specialized in bone in- riverbank’s bottommost section and reveal- part of the now Pasak River; and Karalaga laying like those found in Betis, Bacolor and Apalit, while the Visayas produced deftly carved narra pieces. Wood carving was al- ready recognized as folk art in the Laguna towns of Paete and Pakil as well as in Betis. If Paete has perfected the art of carving im- ages of saints from native hardwoods, and Pakil is known for its exquisite wood filigree, Betis woodcarvers excell in furniture. Mariano Henson noted in his several editions of The Province of Pampanga and Its Towns that “in gold and silver smithery the people of Betis were unrivaled until the 18th cen- tury for their own art”. According to Peter Garcia, 68-year-old mandukit in Betis, Kapampangan craftsmen ahead of their gen- eration were already masters in the art of bone inlaying. Instead of using pearls and garing (ivory), they substituted good quali- ties of cow bones. Furthermore, M.Henson quotes: “In the matter of carving images, altars, church ornaments,furnitures, inlaying with mother-of-pearl, bones, and other hard- woods, gilding with gold leaf, exacting car- pentry, decorative art, and design, painting of religious motifs and theatre drop curtains, the people of Betis during the 17th and 18th El Mediquillo, polychromatic woodcarving La Comadrona, also made in Sta. Rita, centuries again are mentioned here to be made in Sta. Rita, Pampanga in the 1800s Pampanga in the 1800s easily the masters in the art of their own”.

40 Flores’ art: a fusion of name is equated to old and new the creative and By the 19th century, fur- distinct technique niture makers were pro- and designs in fur- ducing works in Peñaranda, niture making and Nueva Ecija; Baliuag, sculpture of Betis, Bulacan; Paete, Laguna; which become a Bacolor and Betis in standard in the art Pampanga; and in Malabon development in area. A contemporary influ- Pampanga. ence of classical tradition Betis’ “Mod- of woodworking in sculp- ern Antiques” ture and furniture began to Travelers be felt in the 1950s brought along the highways about by Juan Flores, a na- of Olongapo- tive of Sta.Ursula. Born on Gapan Road and the 9th of Spetember 1900, the matuang dalan he became a famous sculp- of Bacolor-Guagua tor and furniture maker at feast their eyes on a young age. He learned the several display the crafts of carpentry and of shops selling wood carving, furniture “modern antique” making and sculpture, es- (antique inspired pecially the making of woodcrafts) pieces malasantos. He was so tal- from simple ented that his reputation household furni- grew in the national art ture to the various scene. He once made a pieces of statues. bust of President Manuel L. Most of these dis- Quezon, and that of Secre- played pieces tary of Justice and Finance come from Gregorio Araneta. He was Sta.Ursula where able to study the the mandukit are malasantos and antiques all seen doing various over the Philippines espe- creations. Many cially in Bicol, Marinduque, Two Pulubi polychromatic wood figurines done in Sta. Rita, Pampanga in the workshops offer Leyte, Cebu and Surigao. 1800s nowon exhibit in a museum in Spain varied specializa- His specialization devel- tion; some are oped by fusing indigenous practice he makers in the country. His art is inspired by known to carve aranias or chandeliers like learned in Sta.Ursula, together with his pas- pictures of masterpieces of Western art. those installed in Malacañang Palace, which sion for European religious art and from what Among his styles are the incorporation of show all the fine details that imitate the he learned in his observations around the ornamental motifs derived from local plants gracefulness and malleability of metals. country with Secretary Araneta. Hence, he as well as locally evolved design patterns There are religious images and figures of gained respect among several furniture like bulabulaklak, kulakulate. To date, his saints, called santu, malasantu or rebultu in general; other specialize in the manu- facture of wooden karo, the traditional church retablo, and other church furnish- THE FEW REMAINING BOAT CARVERS ings; some are dedicated workers of home Matenakan dadaras refers to the Jacinto layug, Bonifacio “Pasiu” and fixtures which include tukador, painadora, known expert carvers of balutu (tradi- Poncing), Monico Visda, Felix Dayrit and tremor, almario, atay bed (named after the th tional canoe type boats). Many of the last Dodu Pabustan. Among them only Tatang known 19 century Chinese craftsman, generation of dadaras (boat makers) in the Iling, Poncing and Pasiu are still around. Eduardo Ah Tay), various tables which in- old Paglalabuan village (now Sta.Ursula, In Bataan, a certain Pedro Macalinao, also clude lamesa (adopted high table in con- Betis) have died and only a few of them a Kapampangan is said to be a matenakan trast to the dulang a local low dining table), are left. Among the well remembered dadaras living in Mabatang of Abucay. He consolas (side tables), escritorios (office matenakan dadaras include Avelino is considered by the people in this prov- tables) and lavaderas (bedroom tables with “Tatang Iling” Dayrit, Bienvenido ince as one of the old experts in boat porcelain wash); various cabinets and cabi- “Bebing” Layug, brothers Cornelio “Eliun” making until before Mt. Pinatubo erupted net-like pieces such as lansena (a cupboard and Pedro “Endong” Cayanan; Gasa broth- in 1991. On the other hand, notable with shelves and drawers used to store food ers (Roman “Tatang Duman” and Arcadio), atseru, supplier of baul (rough dug-out stuffs), platera and the traditional baul, Manuel Garcia, Ceciliu Gatus, Cayanan logs) include Leony Cruz and Kulas wooden chest including later versions like brothers (Antonio “Pusad”, Fernando, Leongson and boat dealers include Fran- the comoda and cajonerias, various sizes Venancio “Bana” and Benigno “Bening”), cisco Sibug, Macario Castro, and Enrique of aparadul (or aparadur, used for safekeep- the “barak” Layug brothers (Cenon Layug, “Diki” Santos to name a few. (JPM) ing of documents in churches and as cabi- net for clothes) and painadora (dresser

41 Above, the Guest Room of the Malacanang Palace (formerly Imelda Marcos’ private suite) has Renaissance-style paneling and woodwork done by Juan Flores of Betis, Pampanga. The Mindanao Room (insert, top), which serves as the First Family’s private chapel, and the Visayas Room (insert, bottom), which is the First family’s private library, both have carved ornamentation done by Flores and other Betis woodcarvers. (Manuel Quezon III, Malacañang Palace: Official Illustrated History [Manila: Studio 5 Publishing])

42 43 KAPAMPANGAN WOODCARVING TERMS CIRCA 1732 Fray Diego Bergano O.S.A., in his Yupit, said of a wood, or piece of lumber Casandiquilan, to make, or cause to be Vocabolario de la Lengua Pampango en that has a defect, that is, not of equal thick- excelling, as in sculpture; Romance which was first published in ness, not usable in manufacturing some- Lutes, to finish what was begun, to saw 1732 records some of the early terms thing, v. g. that should have uniform or simi- wood, cut poles, or build a house…; used in the field of sculpting and furni- lar wood…; Macasaut, is said, either of what is there, ture making. These include the follow- Wood working processes without serving it, or doing nothing with ing descriptions: Abas, to make similar, like, in a gown, it, like an axe, or chisel, that is there Wood work and forms sculpture, or works…; ready for the work, without anybody tell- Arongarong, the notch in a woodwork; Aglit, carve or work with a small knife, or ing it anything…; Baul, a thing manufactured in a rough another tool, done not with heavy strokes, Talangdang, to stray, or be thrown off, stage, like a banca or a wood carving, or but with the hand in a to and fro motion…; like big sparks from red-hot iron in the a sculpture not yet perfected…Beulan, As-suit, sa-suit, sinuit, sunuit, to open, as forge, or splinters from wood that is be- or binaul, what is in draft or rough in removing a spine, cut asunder / open an ing cut with an axe; stage…; abscess, or remove a half buried stone, or Talapis, a thing cut up unequally, that Lapat, the fit of wood, the joint, the to carve out the eyes…; is, either wider, or narrower than what adjustment…; Làbac, to make holes, like on the ground, is desired, like a piece of wood, or board Lingguit, moulding,… Liningguit, what is or on a piece of wood, badly planed…; badly sawed, with one end, wide, and chiseled into a moulding…; Liningguitan, Minig-guas, to make designs on wood or the other end, narrow…; the material; wood; Binig-guas, the object. Mabig-guas, Utap, dust produced by woodborers…; Mayulyul, is also said of a pole/wood, to become carved or designed on. Cabig- Utas, separated, like wood that has been badly planed, for lack of a good tool; guasan, an individual carving. Pibig-guasan, cut, then consequently chopped into Tatal, splinters, chips, shavings… the shavings, or the place; pieces…; Matatal, to produce splinters, chips, like Salunða, to move, labor, work contrarywise, Working implements like licup, lucub, a piece of wood being planed, or axed…; like going uphill, a barber shaving close to pat, catam, bucsi etc. have been men- Tigpas, wood that is cut with a heavy the scalp, , the carpenter when he is plan- tioned as working tools in sculpting and stroke… Tigpastigpas, a thing, like a fin- ning against the grain of the wood…; woodworking.. A pat generally refers to a ger ring, or glass with many designs, or a Simulmul, to break into fragments, to chisel, while licup and lucub are both piece of wood cut into three or four ravel, like cloth, or wood not well planed…; types of centering chisels. Bucsi and pieces; Uquil, cut obliquely, or across, or crosswise, catam are plane types used for smooth- Wood character like a piece of wood, or clothing…; ing wood surfaces. Lagari and balibol are Salimoot, said of a tawny timber, whose Other related terms the saw and drill (or borer) respectively; grains, or veins are not straight, but misalisi, Balandang, the flying away of shaving, while daras is an adze, palacol is an axe opposite each other, and such timbers are splinters and chips during the cutting, plan- in general and atác for the iron axe all to be avoided when making a banca; ing, hewing, carving a piece of wood…; used for dug-out and cutting of logs. (JPM) Saling-ga, grains /veins of wood; Bucbuc, weevils in wood or bamboo…;

la king obrang dutung, ania chest), chairs like the butaca dakal anluagi, dadaras at (planter’s chair), bangku or mandukit ka ring tau keti kapiyas, gallinera, etc. Fine kanita pa man”. Thus the art sculpture in the form of deep of fine woodworking and sculp- bas relief art pieces and ture was already flourishing frames are also produced. But even before the time of the one of the many identifica- master sculptor Juan Flores. At tions that characterize Betis the height of the Huk move- creations is the overall projec- ment in the province, this bar- tion of antiquated finish in rio used to have a talipampan every artpiece meticulously as “alipagpag” or “alipatpat” sculpted. Among the known after the noisy activity of boat contemporary mandukit in making and woodcarving in the this district to date, include area. The term baul was al- Willy Layug, Boyet Flores, Pe- ready recorded by Fray Diego ter Garcia, Salvador Gatus, Bergano in his compilation of Joel Tolentino and the crafts- early 18th century men of successful entrepre- Reliévè, a type of woodcarving where images seem to emerge Kapampangan glossaries as “a neurs Myrna Bituin. from the wood, done by Juan Flores of Betis thing manufactured in a rough The old tradition of boat stage, like a banca or a wood carving, or a carving apparently started of pamandukit field of pamandukit and pamaganluagi in sculpture not yet perfected…”, which con- and pamaganluagi in the province. Many of the country today. As Tatang Salvador sequently confirms the antiquity of boat the last generation of matenakan dadaras Santos Gatus (53 yrs.old, son of a making, furniture making and woodcarv- in this old village with families still living matenakan dadaras) quips, “matenakan ing in the Kapampangan region. here are known to have prospered in the

44 THE DYING KÚRAN TECHNOLOGY OF CAPALANGAN THE NAMES OF THE CAPITAL OF ZAMBALES (IBA) AND THE CAPITAL OF BATAAN (BALANGA) ARE ANCIENT KAPAMPANGAN POTTERY WORDS

By Joel Pabustan Mallari

A POTTED HISTORY stove; (b) in north- Earthenwares in the Kapampangan Re- eastern Pampanga gion refer to any form of earthen vessels and southern Nueva found and most likely produced locally. Ecija, it refers to the Scholars like Esperanza Gatbonton note bending detail of the that this low-fired type of earthenware was neck without the man’s earliest invention. One of the most sharp asang, and (c) widespread earthen vessels is the lowly in Sto. Tomas and kúran, known in many languages as Capalangan, it is palayok. It is the round-bottomed, wide- known as a 1- to 2- mouthed native cooking pot. gatang (volume) Today it is the town of Sto.Tomas that kúran. is known for its thriving pottery industry, Another ancient but oral and written town histories re- POT NECKS AND LIPS name for earthen corded by Luther Parker (1900s), Pedro pots is iba or tiba Arcilla (1916), Mariano Henson (1950), etc. Anglit is known in three different (pot-maker is maniba). This is the ety- reveal that many other towns and villages ways: (a) old folks in Capas and Bamban mology of a village in Mabalacat called in the Kapampangan Region also once had usually refer to this term as a set of any Iba (renamed since), and the capital their respective pottery industries, rang- earthen pot or pan with an earthen town of Zambales. ing from household to commercial levels of production. These are: the old area of

45 Calibutbut-Telabastagan, certain duced in the Capalangan- villages in Floridablanca town, Gatbuca area are kurang- old Tiba village (now part of Brgy. kurangan (also known as Tabun) of Mabalacat, most of the kalakuti and terno); kalang southern barrios of Lubao and (stove); panuktukan (bird’s Sasmuan, and pocket villages of bowl), bibingka’an (used for San Leonardo in Nueva Ecija and making rice cake), etc. Kalang Victoria in Tarlac. has many types, including CAPALANGAN-GATBUCA kalang uling (charcoal stove) KÚRAN and kalang Japon (very similar In Capalangan (Apalit, to kalang uling, probably intro- Pampanga) and Gatbuca duced during World War II). (Calumpit, Bulacan), two barrios WHERE THEY GET THE PILA that once harbored ancient In general, earthenwares Kapampangan settlements, they are made of pila (pilak), or clay still manufacture globular pots produced in the pinac, which they generically call kúran, Kapampangan for a swampy done by craftsmen they call area and a clay field, or in open mangkukúran. fields, mountains or riverbanks, Oral tradition has it that the or in mounds formed by ane mangkukúran originally came (termites), or in low watery val- from Capalangan,their descen- leys (alog and bana). Potters dants resettling in Gatbuca only from this region generally label later.. These mangkukúran claim clay into three types according that their ancestors pioneered to texture, which can also be the production of these earthen- identified by color characteris- wares, which are generally clas- tic. All clay are usually termed sified into three types, namely, as pila (lowland speakers) or kúran, banga and balanga. pilak (upland speakers), which includes the Kúran has a small mouth opening and meanwhile, the term kalámba (var. common clay and the fine black clay called is used exclusively for rice cooking. It is karámba and lumbu) refers to a large kúran kapalangan. Malutung pila/gabun refers to often considered as the counterpart of the or a large banga. the reddish clay which when fired assumes palaiok/palayok as the type is known in Other variants include tuliasi/taliasi, a dark red color. Most mangkukuran use the many Philippine languages. Its sizes include kamáu, bibingkan/aan or urnu, pasu, losa, mapekat/malagkit type of clay which they manialup, mangatang and mamati. lumbu, silio, pinggan, tunauan gingtu,allof say is better than what they call malabo The balánga is the same shape as the which have different shapes and sizes of ori- (pamasu), which is used specifically in kúran but has a wider mouth. It is usually fice unlike any of the first three types. Most making pasú (plant pots and jars) in Sto. used for cooking soupy dishes like like the tuliasi, for example, have two handles also Tomas and in making lariu (bricks) in sinigang. made of fired clay. Tunauang gingtu are the Cansinala, Apalit. Lastly, the bánga has a higher lip mar- common large crucibles (10 to 300 cm in di- Basically, the materials used in the gin. Also called paldanuman, this pot is used ameter) with cover, used by the miners and manufacture of pottery are the different exclusively for storing liquids like drinking smelters of Norzagaray and Angat in Bulacan. types of clay, and the proper proportion of water. Kamáu is the earthen pan that closely re- temper and water. Temper, which provides Based on size, pots are classified as sembles the wide-mouthed plant pot. and gives the thickening effect of the ma- daba, katamtaman, malati or bungsu; Other earthenwares currently pro- terial known to them as limsak, prevents

BALINTAWAK-RED POTTERY Old designs—incised, excised, stamped, or in applique form—found among old pottery sherds recovered in Porac, Guagua, Candaba, and Lubao, are associated with the Metal Age of Philippine prehistory; some are contemporaneous to 13th to 16th century Southeast Asian tradegoods. Traditional red-slip pots produced in Apalit are called mekulul, from kulul which refers to the suspension of fine earth and water, usually called balintauak (reddish color) or dilo (yellowish color). Archaeologi- cal findings show a post-c.5000 BP to Pre-2300 BP settlement using red- slipped pottery; the inhabitants occupied grounds of about 3.5 meters below the present surface area of Babo Balukbuk, which is now a pla- teau in Porac, Pampanga. In Southeast Asian prehistory, red-slip pottery is one of the major cultural markers associated with Austronesians, the seafaring people of long ago. The Austronesians of Oceania and South- east Asia spoke or had ancestors who spoke any one of the Austronesian languages spread over half the globe, from Madagascar to Easter Island.

46 breakage during firing. Tem- Torreses and Baluyuts say pering material can be abu that their thin-walled kúran (ash) and mapinung balas POTTER’S wares are properly and (fine sand), banlik, TOOLS finely paddled (mápukpuk/ kapalangan, balas, etc. mátampi). This prevents Cooking pots produced pamanulas (seeping/leak- in these areas are globular, ing), which makes their thin, durable and red- pots more durable and per- slipped finish. These kúran fect for storing liquids and are burnished—called for cooking. mekaius gilid (and kilub and All of the dried earth- buldit)—which is done using enwares are fired usually a metal blade known as lilik. at a low temperature of The right season and 500ÚC - 800ÚC. Each kiln sourcing sites are also a ma- site varies in structure. jor consideration for them. Most of the kilns from Inexperienced sourcing of Capalangan and Gatbuca clay leads to maumuk (when are rectangular semi-bon- food cooked in this pot fire-type. But most of tastes like mud). them still use the old technique of Manampi, mamipi necessarily reaching the mouth rim of a pamandapug (open firing and pit firing) The manufacturing phase is where craft pot. This kulul is a solution of fine earth which takes only about one hour of specialization manifests itself: after sourc- and water, its color ranging from yellow pamanamban (burning of áre, dutung- ing of clay and other raw materials, task ochre (known as dilo) to vermillon orange dutung, ‘dried pieces of timber’ covered assignments are distributed to various spe- (like balintauak), its characteristic back- by ábu). The freshly molded pots are usu- cialists. Mangiling, magmasa, mamabit, ground color turning into a rich venetian ally dried on a bed of áre (dried rice hay), mangulis, kukulyut and maglutu are just red technically known as “red slip” after kept for days under the lambale or sulip, some of the many specialized assignments. being fired. If a pot is properly fired it is the lower section of old bungalo or pinaud Linis or pamangaias (burnishing) and the termed as málutu (well cooked)—quite pos- houses which is also the workshop area, addition of a slipping solution known as sibly the origin of the word malútu, red. to keep them away from the direct rays kulul are part of the finishing process. It is Present-day old mangkukúran in the of the sun (air-dried pots are more durable usually applied at the exterior surface not Capalangan-Gatbuca area like the Mutucs, than sun-dried).

KAPAMPANGAN POTTERY SURVIVES IN LINGUISTIC NUEVA ECIJA AND TARLAC CLUES IN A POT Traditional pot makers in Sto.Tomas, pottery designs according to market de- Pampanga have created new designs and mands while still faithfully following the A 14th–15th century-old pot was re- forms in response to increased market traditional potterry lines of Capalangan, covered in an archaeological excava- demands here and abroad. Meanwhile, in Apalit. In fact, the mangkukuran (pot- tion in Calatagan, Batangas. Several the adjacent town of Apalit, the tradi- ters) of Victoria have labeled the tradi- speculations arose from the old tional art of pot making has steadily tional kuran (common rice pot) as undecipherd “poetry lines” inscripted waned, as a result of little or no innova- kapangpangan, the term used not only around the shoulder of this pot, one of tion. It is the pot makers of San Leonardo, by the Kapampangans along the Tarlac- which was the alledged common an- Nueva Ecija and Victoria, Tarlac who seem Nueva Ecija boundary also by the cestry of Kapampangan, Tagalog, to have struck a balance between inno- Ilokanos, Pangasinenses and Tagalogs in Bikolano and Ilokano scripts. Morpho- vation and tradition. They create new the area. logically, the pot is very similar to the unfinished pot types manufactured by Capalangan potters which they call as CAPALANGAN MEANS BLACK SAND, babaulan, from the term baul literally NOT METAL BLADES “unfinished hammered pot.” Ancient potters in this old barrio of Capalangan practiced a unique technique of ‘black-slipping,’ as recalled by local historian Michael Pangilinan, who explains that this technology involved mixing clay and kapalangan (“black sand,” said to be a rich source of magnetite) and applying this magnetite-rich suspension to the interior part of kúran. He adds that this method of slipping is used to make the pot’s interior layer durable and dark, for some unknown reason. The process is also being done before firing the dried molded kúran. Oral tradition in the area maintains that their barrio was named after the black sand (the term is also mentioned by Dr. Jaime Veneracion in his book, Kasaysayan ng Bulacan) and not the abundance of metal blades (palang).

47 THE COMPLICATED PROCESS IN MAKING AN UNCOMPLICATED POT

48 49 POTTERS’ TOWN PAMPANGA’S SMALLEST TOWN HAS 38 RIVERS, RIVULETS AND CREEKS, WHICH EXPLAINS THE ABUNDANCE OF CLAY

By Ryan P. Santiano and Arnel D. Garcia pasû terms anglit balanga banga bigandier bunsu guguling iba kalakuti takap kalamba/ karamba kalang kalang dutung and kalang uling (all earthen stoves) kalang Japon kalang kusut kalang uling kamáu kuran/ palaiok kurang-kurangan kurang-kurangan (olden toys of cooking pots and accessories) lumbu manialup oya/olla paldanuman A TYPICAL KILN panuktukan pasu (old soup bowls) Pampanga has 20 towns and 2 cit- residents along Quirino Street are pot- radoma ies; Porac is the largest town (343.12 ters, e.g., the Mercados, Castros, sigangan square km.); the smallest is Sto. Tomas Basilios, Afans, Gomezes, Pinedas, simbiri (decorated plant pots) (21.29 sq. km.) Originally called Baluyuts, Anastacios, Regalas, Torreses suklub Baliuag (tardy) from the word maliuag and Bonuses. takuri (panayan a malwat, or long wait), be- According to local folks we inter- tapaian cause of the townspeople’s notoriety viewed (Ricardo Afan, 60, Rodolfo terno for always being late for Mass, the “Apung Rudy” Torres, 66, Armando tuaka town was renamed on December 21, Castro, 58 and Rodrigo Castro, 85) the tuliasi/taliasi 1792 in honor of St. Thomas the first ever potter in Sapa was Apung tumpang Apostle. The town, despite being the Sindung Mercado who also introduced tupak smallest in the province, has 38 riv- to the area the art of making pilun (jar upu-upo ers in only seven barangays: Sto. for making molasses). The pot mak- urnu/ bibingkaan Rosario(Pau), Moras Dela Paz, San ers here likewise made oia or oya (ob- Matias, Sto. Niño, (Sapa), San Vicente, viously after the Spanish olla)- lidless San Bartolome and Poblacion. water container, as well as tapaian or One of the best known industries tapayan – large long-necked earthen in Sto. Tomas is pamangauang pasu water containers. (pottery industry). This industry is During the early times, oya, rooted in Sapa (now Barangay Sto. tapayan, pilun and radoma Niño). The center of pottery in this (labadura?) were made by using tools area is along Quirino St. (formerly like tepan – pamikpik/ pamukpuk, called Canlas Subd.), also known as kuliut – paniagka, sepua-pilunan nung camalig (a low-roofed structure where nukarin sasalud ing danum potang pots are made). Ninety percent of the gagauang pasu.

50 THE GUITARS OF GUAGUA Gitarang tramu makers use wooden clips (sipit) to hold the lining (regala) as it dries in the sun. The soundboard (lúpa) is usually made of danara, langka, kalantas or palotsina wood, while the back brace (baral) is made of tangili, apitong or palusapis wood. The inner lining, on the other hand, uses yantuk, gumamela or balibago wood. KAPAMPANGAN GUITAR-MAKERS INSIST THE CEBU GUITAR INDUSTRY ORIGINATED WITH MIGRANTS FROM GUAGUA By Joel Pabustan Mallari with Francis Eric C. Balagtas

Guitar is a universally popular string in- for more than three centuries coinciding in the Philippines. strument played by plucking or strumming. with the beginning of the guitar tradition Folk historians from Pampanga claim The guitar is the proverbial instrument of from Spain. the original century-old tradition of gitara- chivalrous courtship. Pictures of swains ser- In Mariano Proceso Pabalan Byron’s making is the old street of San Anton, enading their lady loves under their balco- zarzuela “Ing Managpe” which is the first Guagua, Pampanga called Tramu. This lo- nies guitar are common. The word guitara zarzuela written in any Philippine language cal street name is a borrowed Spanish term or gitara can be traced to the Greek in 1900, he mentioned the archaic word which means “flight of stairs” or “railroad”. kithara, but there is no similarity in the kalaskas as an example of an old musical It is in fact metaphorically compared to the structure or sound of the two instruments. instrument probably belonging to the gui- railroad-like view of the pasin (fret board) The guitar in its present form originated tar family. In an 1860 edition of Fray Diego of the Kapampangan-made gitara locally in Spain in the 16th century and spread all Bergaño’s vocabulary collections, he listed called the gitarang akostik, (the tradi- over the world. As part of the offshoot tra- cudiapi as a musical instrument similar to tional acoustic guitar). Several name-parts dition, the Philippine archipelago was once a harp, which he pointed as no longer ex- of this native guitar prove the antiquity of part of this evolutionary influence from tant during his time. Cudiapi or kudyapi is its beginnings since many of its basic parts Spain, since the archipelago was colonized an example of pre-Hispanic native guitar as well as the process of production are

51 Kapampangan words derived from Spanish. gitarang akostik but sprouting a pair of tin- flute. Later the introduction of guitars and Local traditions dictate the early beginning seled pago (shoulders). Fortunately, the bandurias further enriched their culture of this industry and that it is product of in- “elektrik gitar” failed to displace its noble for music and of course the guitar indus- depth ingenuity and timing. Townfolks say ancestor. Simultaneously with its degrada- try. Unfortunately, the business died in that it was a certain Matuang Bacani who tion by rock musicians, great guitar players Tarlac due to the high cost of raw materi- made the initial discovery of gitara-mak- accompanying pulusador, mang-gosu/ als and the increasing popularity of low ing. It was then transferred to the older mangalulua, manarana, up to the present priced Chinese-made guitars among Phil- clans of the Lumanogs, which was begun have maintained its classical and folk tradi- ippine local markets. This scenario greatly by Apung Angel who became the son-in- tions. Meanwhile numerous modern compos- threatens the present manufacturers of law of the guitar pioneer Bacani, and fol- ers, including the Guagua-based band the Pampanga especially those of Guagua and lowed by the older families of San Anton Whitelies, a pop-rock balladeer, the Green Lubao (especially in San Juan, Sta.Monica, like the Garcias, Dizons, Mallaris, Jucos, Department and several other homegrown and Dau). Today, this industry still competi- Manansalas etc. after it was suc- tively penetrates some of the key cessfully mastered. The story goes cities of the archipelago in Cen- that Matuang Bacani found an old tral Luzon (Tarlac and Olongapo), Spanish-made guitar floating on a Baguio, Vigan, Metro Manila. It in- nearby river of Tramu. Curiously he cludes the customized orders of disassembled the dilapidated unit Pop-rock singer-composer Ramon and tried to study and copy the pat- “RJ” Jacinto, and are even sold tern of framework production of, in Cebu and Davao. Among the the traditional Spanish-made gui- top-favorite designs include the tar. From this he was able to repli- classic guitar of Freddie Aguilar, cate it using indigenous materials the “Gibson-type” and the now like milk-base glue and local much in demand “Nyoy Volante- karutungan (wood materials). design”. Some of the body-types Later it was mass produced after requested by buyers include the an increased demand from the dif- “ovation”, “cut-out” and their ferent Kapampangan towns like various combination. Material Macabebe, Bacolor and San types may come from the tradi- Fernando. Thus the gitara-mak- tional all wooden body finish, to ing tradition, became a part of the the fiber-cast finish. Sizes range history of local industry. This old from the international common town of Guagua was at one time size “junior”, the bigger one an important trading and cultural called “senior”, “mini” or site not only to the local “malati”, “iukulele type” etc. Kapampangans but also to the Chi- Other stringed instruments nese and other foreigners during manufactured by-orders include Spanish Period as its rivers like the the banduria, tabina Dalan Bapor played a crucial role (octabina), piccolo, mandolin in the economic and political de- etc. Some gitarang akostik can velopment of the region. have “pick-ups” to transmit its This standard instrument has sound to nearby sound systems. six istring (strings) and tarasti Some have customized nylon- (frets and fret wires) along the strings. The scarcity of raw ma- mangu and pasin (all parts of the terials hinders the future produc- brasu, the fingerboard) to indicate tion and quality of this industry, the position of the notes of the since most of the present day scale. The strings are tuned in gitaras source their materials fourths, with the exception of the from various hardwoods from de- interval between the fourth and molished old houses, like fifth strings, which is the major apitong, tangili, palusapis, ipis third: E, A, D, G, B, E, the lowest string talents have written concertos for guitar and for the manufacture of arung-arung (heel) being an E in the middle register of the bass orchestra. and mangu (neck); gumamela and yantuk clef. The industry grew rapidly after the lib- The tradition of gitara-making in for the regala; and langka, kalantas and eration until the 1980s. Historically, toward Guagua has influenced the guitar industry palotsina for most of the kaha or body the mid-20th century the guitar was elec- in Tarlac (of the Bondoc families) and the where they go as far as Nueva Ecija to have trically amplified to compensate for its tonal now famous “Guitar Capital”, Cebu. Tra- the right wood-type needed in the produc- weakness. Later it became a primary instru- ditions maintain that the pioneers of these tion. Despite the high price of mekanika ment of modern rock musicians. In its new places have their family roots from Guagua (head mechanisms) and istring gitara role it underwent a change in anatomy. In and Lubao. In Cebu, this industry favored (which are also imported from China) they Tramu, it is said that the start of its manu- the people greatly that even their perform- still produce a conservative average of facture began before the 70s, and was called ing arts have also evolved into a rich rep- 14,000 guitars a month (in Tramo alone) “elektrik gitar”. Its folk features were ertoire of songs and dances using instru- which they think is a difficult task to main- abandoned in favor of a gaudy androgynous ments initially fashioned from bamboo and tain in the near future. thing, thinner in the middle than a classical coconut shells like the subing bamboo

52 FLORIDABLANCA’S ALUMINUMWARE INDUSTRY THE INDUSTRY IS SLOWLY RECOVERING FROM LAHAR DEVASTATION By Florence Valencia Aluminum’s essential qualities of bril- makers, it was later formalized as the ‘mem- liance, strength, light weight, resistance to bers’ began to work jointly with the inten- corrosion and ease of recycling have made it tion of improving and developing the an unparalleled medium for design and cre- aluminumware industry in their region. ative engineering eversince its properties TECHNIQUES were first harnessed in the mid-19th century. There are two methods of aluminumware Although it is the most abundant metal in making existing today. First is pamamukpuk, the Earth’s crust, aluminum is difficult to iso- the more traditional way of creating alumi- THE TRADITIONAL late, making it precious enough to be used num wares. It is the process where a base HANDCRAFTED for jewelry and small, delicate crafts once metal is heated above a small open fire for ALUMINUMWARES ARE coveted by European royalty. several minutes until malleable, then is trans- It was the Spaniards who brought the ferred to a wooden molder called the ulmaan MORE IN DEMAND method of aluminumware-making here in the where the craftsman hammers away to shape THAN MODERN Philippines. Very little information can be it into a strong, efficient household object MACHINE-PRODUCED gathered as to how the production flourished (e.g. pots, basins and pans) which can during its early years. But we now know that weather years of use. The second modern, tion of Mt. Pinatubo in 1991 devastated the the small town of Floridablanca, Pampanga more inexpensive method is by means of ma- town. Barangays located along the Gumain, is where the industry first developed. chine spinning where raw materials (alumi- Caulaman and Porac Rivers, including residen- Hacienda Valdez num circles measuring an 8x4 flat sheet) are tial and agricultural lands, were inundated by It was in the small district of Hacienda clamped in an apparatus which pivots away lahar as thick as 20 feet. Meanwhile, Mabical Valdez where the first handmade to produce a lighter, but equally efficient may have been spared from the thundering fury aluminumwares were manufactured and the version than the ones crafted by hand. of the lahar flows, but it did not escape the modern era in aluminumware industry be- Between these two however, it is the hardships of a suffering economy. gan. The families of Timpug and Mallari were hand-crafted aluminumwares that are more TODAY the pioneers of this craft. During the early in demand. Buyers prefer a substantially ex- That was the picture of more than ten years of the industry, the primary sources for pensive item over an economical, equally years ago. Nowadays however, the aluminum raw materials were the scrap metals obtained efficient item simply because of the guaran- ware industry is swiftly gaining a more posi- from the nearby military bases. In the 1960’s tee that it will last longer than its machine- tive future. The Mabical area where we vis- however, aluminumware makers began im- made counterpart. ited currently has five neighboring stores. The porting base metals from other local manu- CHALLENGES first and largest of these is the Velasco Vari- facturers (e.g. Reynolds Philippines). These The aluminumware industry in ety and Aluminum Kitchenware store which local manufacturers identified their clients Floridablanca is constantly challenged with is the pioneer maker of machine-spun wares from Floridablanca as the Pampanga Group. many trials. During the 1980’s, the period when sold in that area. Although there is a huge Around that time, there were about 15-20 machine-made wares were mass-produced predominance of machine-made wares be- members in the said group. The group rep- both for local use and for export, the industry ing retailed there, hand-crafted products are resented the number of aluminumware mak- suffered a distressful period following a nega- still widely popular. In fact, usually after lunch ers active within the entire Hacienda Valdez tive economic circumstance brought about by time, it is common to hear the cacophony of district. Although the Pampanga Group ini- peso depreciation. Another trying time came pounding coming from stores which had not tially began as a collective name for these for the industry when the catastrophic erup- yet forgotten the old ways of pukpok.

53 54 BEA ZOBEL DE AYALA MARVELLED chine. Mutuc’s cherubim, in particular, feature distinct facial ex- AT THIS FOLK ART, WHICH IS QUICKLY pressions amazing in their variety and verisimilitude. For his craft, the artist uses the following tools and materials. VANISHING BECAUSE YOUNGSTERS - Tanso, yellow brass sheet, the main component of his metal HAVE NO INTEREST IN TRAINING craft. - Birya, a rubbery clay mixture used for molding the metal For an artist whose work graces cathedrals and churches, sheet to create the design. Eduardo Mutuc works in humble surroundings. His studio occu- - Plantilla, design or a pattern of work on paper to be copied pies a corner of his yard, shares space with a tailoring shop and on the metal sheet. lies beyond several winding streets beside the Pampanga River in - Molding dutung, wood mold, the outermost layer where the Apalit. During the rainy season, the river overflows and water metal sheet will be molded first before going into the details of floods his studio, drenching his wood blocks. Mutuc takes it all in the design. stride. He is a man of unbelievable dedication to his art even - Sinsil, small pieces of tubular solid iron of different sizes though he learned his craft late. He was already 29, married with used for shaping the finer patterns on the metal. the first of eight children and frustrated with farming, when he Eduardo Mutuc is one of the three Gawad sa Manlilikha ng decided to carve out a new career for himself. He learned how to Bayan Awardees (GAMABA) in 2004 declared by the National Com- carve wood when he was employed in a furniture shop. The sev- mission for Culture and the Arts enties marked the start of his third occupation, metal craft. Work- ing with just a chisel, a hammer, an old rubber slipper and a sheet of metal, Mutuc has shown that low level technology can create powerful and moving religious art. His work graces cathe- drals and many parishes, as well as the home of private collectors who have commissioned him to create mostly religious articles like crucifixes, candle sticks, mir- ror frames, retablos, frontales, crowns for colonial saints and carrozas. Hand-wrought metal and silver craft is a van- ishing art because now there are machines for cutting and stamping the metal. However, handcrafted metal makes for finer and stylized designs and infuses each piece with a uniqueness that cannot be cap- tured by any ma-

Jeric Canlas, a pukpuk artist from Mexico town, did this altar frontal at the Center for Kapampangan Studies

55 Eduardo Mutuc of Apalit uses a rubber slipper in imprinting the wooden mold on the brass sheet-- HOW PUKPUK IS DONE a folksy detail which impressed Bea Zobel when she visited 1. The art design is drawn on paper. Mutuc’s shop. Below, Jeric Canlas 2. The design is chiseled on the wood mold. of Mexico burns the imprint to 3. The metal sheet is placed over the wood achieve the same effect. mold and pounded (stamped) into the design with a hammer padded by a rubber slipper (what Kapampangans call istepin or step-in). (NCCA). The GAMABA, is the high- 4. As the yellow brass sheet is shaped into the est honor given by the nation to design of the carved wood beneath, it is lifted indigenous folk artists for their out- out and prepared for the next step. standing work in creating, preserv- 5. The second piece of wood, slightly bigger in ing and promoting native art size than the metal, is prepared and covered forms. The awardees are conferred with birya. The metal now with the basic de- the award in special ceremonies signs from the carved wood is placed over the in Malacañang. A Parangal for the birya, nailed on four corners. The artist this awardees is likewise held at the time uses different sizes of sinsil in shaping Courtyard of the National Museum the detailed designs on the metal sheet, as for the Filipino People. well as in refining the previous shapes acquired As a part of NCCA’s program of from the carved wood. This part is the most transferring the skill to the next meticulous and time-consuming step because generation, Mutuc trains young the intricate designs are now created on the boys in the community by teach- metal sheet. ing them woodcarving which is a 6. After refining the art work on the whole basic step, before the metal craft. metal sheet, it is now ready for the silver elec- However, Mutuc says, the young boys troplating which is the process of passing elec- find little interest in the craft be- tric current in water where the beaten brass cause they seek or prefer a training plate is submerged, so that the silver powder and livelihood with quick compen- will turn into a silver solution that will cover sation. the brass plate (talbug).

Kapampangan folksiness is shown in the details of the pukpuk altar frontal at the Center: the Augustinian seal is surrounded by anthropological elements like dapu (crocodile), kamaru (mole cricket), itu (catfish), tagak (egret), tugak (frog), and Pampanga’s agricultural produce such as rice, sugarcane, banana, coconut, watermelon and vegetables.

56 TRADITIONS IN METALSMITHING Gintu ampong pilak, mámulaklak OUR ANCESTORS MELTED MEXICAN SILVER COINS TO MAKE RELIGIOUS SILVERWARE By Alex Castro

The silver sunburst in the main altar of the Angeles Parish Church was commissioned by Fray Guillermo Masnou, OSA in 1872-1873

Metal- try argues for the presence of a skilled and of fine silver. For processions, carrozas were smithing— expert goldsmith, attested to constructed and fitted with silver or brass the art of by AugustinianMartin de Rada in a letter panels decorated with hammered patterns. working on to the Viceroy of Mexico in 1569 where he The carroza of San Pedro from San Luis, metals like declared that “natives could recognize Pampanga for instance, is noted for its all- gold, sil- where the gold comes from such an island silver beaten panels adorned with 3-dimen- ver, brass and this other gold comes from such an- sional floral and vegetable designs also of and other other”. silver. In Sasmuan, the calandra (glass case) alloys—was From the late 16th to the 19th century, of the Santo Entierro is equipped with sil- not un- when the Spanish missionaries arrived and ver virina (glass globes for lights) holders. known in started building churches, attention was fo- Processional santos, on the other hand, pre-His- cused on silver, the common metal used were outfitted with gem-encrusted gold or panic Phil- for ecclesiastical activities and structures. silver aureolas, rostrillos, diademas and ippines. In Though excellent goldsmiths, the Filipinos tiaras, with intricate designs often made fact, the were not familiar with silversmithing, per- by the pukpok technique. The century-old Palitera or toothpick holder earliest haps because silver was not popular, and ivory image of Nuestra Sñra. de las gold orna- that it tarnished quickly It is in this art that Estrellas, owned by the Mercados of ments excavated in the Philippines were the Chinese excelled; in fact, the tools of Sasmuan, is outfitted with intricately de- gold beads from Guri Cave (ca. 700-200 BC) their trade are still known today by their signed silver gamit, including a jeweled and similar ones from Tadyaw Cave (100 Chinese terms. scepter. BC-300 AD) in Palawan. Long before the Under the guidance of the Metalsmiths, however, also churned out Spaniards came, we had local names for friars, Chineseplateros wrought chalices, gold and silver jewellery for personal adorn- some of these precious metals: gintu for ciboriums, monstrances, censers, reliquar- ment as well as functional objects for do- gold and pilak for silver. Gold was treasured ies, cruets, aspersoriums, aspergillums (for mestic use. Gold necklaces, jeweled by early Filipinos and was used as wedding sprinkling holy water) pyxes and crucifixes combs, keyholders, rings and salakots with dowry, to pay a tribute and to value other for Catholic rituals. To decorate the altar, silver finials were produced for every mem- goods. As a fitting send-off to the afterlife, Mexican silver coins by the thousands were ber of the household. The quality of gold faces of dead were often covered with gold. melted and fashioned into tabernacles and ranged from a high of 24 karats to a low of Antonio Pigafetta documents the gifts of altar frontals, ramilletes (silver floral 10 karats, often rose gold in color and re- Rajah Humabon to Magellan in 1521: “two standees), candlesticks, sanctuary lamps, ferred to as tumbaga. large earrings of gold…two armlets…two limosneras (silver alms box) and baptismal In and around the house, silver was other rings for the feet above the ankles..”. shells. The altar of the Holy Rosary Parish generously used to make everyday objects Indeed, the abundance of gold in the coun- in Angeles is noted for its brilliant sunburst like cubiertos (spoon and fork), paliteras

57 PAMPANGA’S SILVER TREASURES NAVETA (incense boat) from Mexico VINAJERAS (cruets) from Mabalacat town (Archdiocese of San Fernando Museum & (Archdiocese of San Fernando Museum & Archives) Archives)

CUSTODIA RELICARIO RAMILLETES ASPERGILLUMS COPON (ciborium) CALIS (chalice) (monstrance) (reliquary) from Sta. (floral standees) (holy water sprinkler) from Apalit from Apalit from Lubao, Rita (Archdiocese of San (San Agustin Museum) (Archdiocese of San (Archdiocese of San (Archdiocese of San (Archdiocese of San Fernando Museum & Fernando Museum & Fernando Museum & Fernando Museum & Fernando Museum & Archives) Archives) Archives) Archives) Archives) (Photos from Simbahan by Regalado Trota Jose)

(toothpick holders), teapots and trays. A santos. Kapampangan artisans reign supreme. fine example of 19th century Kapampangan Today, you can still find these crafts- affluence is a magnificent silver pineapple- men working on tin sheets and brass instead METALWORKING TECHNIQUES shaped paliteras from the Hizon family in of silver, and creating chased picture Mexico which shows excellent Filipino frames and jewelry boxes alongside tradi- · Chasing and Repousse: a technique workmanship in the treatment of the foli- tional religious metal accoutrements. Now in which designs are raised on a metal sheet age and execution of the lion’s paws at the vanishing in number, they are mostly con- by pounding a pattern from the back using base. centrated in Apalit, “pukpok boys”-as they a sinsil (blunt chisel). This is achieved by Metal-smithing in old Pampanga have fancifully called themselves— are still working on the metal against a wooden Early metalsmithing centers in the active in barrio Sulipan and in San Vicente. background, on which definite designs have Philippines include Quiapo, Sta. Cruz and In Sto. Domingo, Mexico, one of the last been incised. Commonly known as pukpok. Binondo in Manila; Vigan and Laoag in plateros of the town, Jeric Canlas contin- · Engraving: incising a design using a Ilocos; Iloilo, Bohol and Cebu in the Visayas; ues to practice his metalsmithing skill, spe- pointed chisel, known as pang-ysot (Ysot and Meycauayan in Bulacan, where the cializing in gold and silver-plated accesso- was common zigzag engraving pattern). goldsmith trade still is in existence. ries for saints as well as contemporary · Die-stamping: sheets were worked From late 16th century onwards, the con- crowns for local beauty queens. It is a time- thru the bagsak technique, where a die centration of goldsmiths shifted to the consuming process, all done by hand, all (design on steel) was applied to create a North, with 40% of artisans located in Ma- labor intensive, which explains why more pattern allowing exact design repetitions. nila, Bulacan and Pampanga. In Pampanga, and more craftsmen are abandoning this This process was unknown prior to Spanish early smiths were at work in Apalit and its time-honored tradition. Recently, however, times, perhaps introduced by Chinese fringes (a barrio, Capalangan, is so named Eduardo Mutuc of Apalit was given the metalsmiths. after its produce of metal hand blades, lo- Gawad Manlilikha ng Bayan Award for his · Gilding and Plating: gilding was done cally known as palang), Macabebe and contribution to the folkloric art of by fire (dorado del fuego) in which gold, Guagua, where smithing complements the silversmithing. Hopefully, this would re- melted in mercury, was coated on the ob- work of santeros or carvers of wooden kindle interest in this dying art where ject (silver or bronze) to be gilded, then

58 baked until the gold was left on the surface. difficult to obtain. gasoline/acetylene torches (operated with · Filligree: gold or silver was drawn into · Weaving: chains used in belts and foot bellows) and borax as a flux and adher- thin wires and then shaped in definite pat- necklaces are formed through weaving/ ent, to bond 2 metals together. terns. Often seen in tambourins, rings, pen- looping techniques. Alfajor is a style of Sources: dants and beads. chain that uses small, flat metal sections 1. Sanctuary Silver, by Martin I. Tinio, Jr., museum ex- hibit catalog, Puerta Real, Intramuros, Manila, 1982. · Granulation: small, solid gold spheres connected by double links. 2. Villegas, Ramon N. “Pre-Hispanic Gold: Extraplating or granules are formed from melted gold · Soldering: ancient craftsmen used uni- Techniques & Identifying Fakes”, article from the The wires then soldered into place to form a dentified adherents (probably derived from Manila Arts & Antiques Exhibition Catalog, 1982. 3. Villegas, Ramon N. Philippine Jewelry Tradition variety of clustered patterns aquatic plants and salt springs) and devised 4. Filipino Heritage, Vol. VII · Sala-salamin inlay: cloisons or cels ovens that gener- were fitted with highly polished sheets of ated heat gold, usually of a different color, to mimic evenly. Today’s gems which had prohibitive costs and were craftsmen use CATALOG OF COLONIAL SILVERWARE JEWEL JARGON An inventory of jewelry worn by upper-class Filipinos in the 19th century included the following: · Criollas: earrings · Tamborins/ Rosarios: rosaries or simplified rosaries with decorated beads made of silver or gold. The cross may be rendered in florid rococo style, called tinik or pinya. It may also be Christ-less like the alitagtag cross inspired by a Rosario Criollas similar one found in Batangas. The cross dangles from a gold metal piece often called lazo (bow knot) or a mariposa (butterfly) due to its shape. · Porta Abanico: fan chain holders attached to the waist · Llavera : key holders, usually made of silver · Relicario : pendant reliquaries containing glass-cov- ered saints’ bones, miniature ivory images or bits of wax from agnus dei. · Pulsera : bracelets Porta abanico Salakot · Pantoche: hair or veil pins · Peineta : combs of tortoiseshells, surmounted with chased silver or gold covered body. Sometimes the top part has a scallop design fancifully called kamatsilis. · Alfiler : decorative pin to hold together the ends of a panuelo · Salakot: hard hats, made from woven buri, nipa, dry gourd or tortoiseshell strips, decorated with silver/metal trims, patches and finials Llavera Peineta TOOLS OF THE TRADE · Tokoy: work table · Lekyo: retractable board attached to the work table · Tsintse: goldsmith’s wax where object to be worked on is set Pantoche Alfiler · Tuwa: tool chest · Tiho: silver or gold sheet · Gintsam: cutting chisel · Tiyam: anvil where sheet metal is flattened · Kutyam: dented anvil for molding/shaping object · Katoy: light hammer for shaping metals · Bandili: fine-toothed saw · Siyato: 3-edge file for smoothening rough spots · Tikat: super-fine file · Toli: a file for finishing engravings · Tsambwa: gold and silver shavings or dust Alitagtag Tamborin · Puntaw: dustpan (Photos from Hiyas: Philippine Jewellery Heritage and Household Antiques and Heirlooms)

59 The ECCLESIASTICAL ARTISTS of Pampanga THE SANTOS OF MACABEBE ARE COMMERCIAL AND DEVOTIONAL; THE SANTOS OF BETIS ARE COLLECTIBLE AND DECORATIVE By Arwin Paul Lingat

“Ambo” Bautista thought of opening a busi- by his grandson Gener Cortez Bautista, 57. ness/shop for santo making. He gathered He is not an artisan but a graduate of busi- all the local artisans of Macabebe and ness management. He manages at least opened his talyer in the town. Tatang Ambo four wood carvers, two painters and sev- was not an artist, nor a sculptor, not even eral helpers including his wife, who is a a painter. He was a businessman first and burdadera (embroiderer). His son, a gradu- foremost, who financed all the santeros he ate of business management, also helps gathered in his town. It was in this way that manage their business. a livelihood for the people was opened and Tatang Ambo is now acknowledged as new artists emerged. the father of the santo industry of The management of the talyer was Macabebe, which is quite different from later transferred to his son Antonio the antique santo industry that has flour- “Adong” Bautista, a painter by profession. ished in Betis. The Macabebe santo is con- By this time escayola santos had become temporary, commercial and devotional, popular. Escayola santos’ main composition while the antique santo is collectible and Gener Bautista of Macabebe is the chalk dust or gesso (a kind of plaster decorative. Although Betis is the center of wood- of Paris) molded and painted afterwards. carving and furniture-making in Pampanga, In the 1950s he had the monopoly of NICOLAS ‘NICK’ LUGUE it is Macabebe town which is known as the santo business in Pampanga, in particular Another popular Kapampangan santero home of santeros. A santero is a craftsman the escayola finish. The talyer of Tatang is Nick Lugue of Apalit. The 39-year-old who uses wood, ivory, cement or fiber glass Ambo inspired other shops to mushroom artisan is the son of Leopoldo Lugue, who to produce an ecclesiastical art piece along the whole stretch of the town’s main was also a well-known santero during his known as santo, usually an image of Christ, road leading to the plaza. Others found time. Nick is only one of Leopoldo’s five the Blessed Virgin Mary or a Saint. their way in the other towns of Pampanga sons who inherited his skill. Before the war, fishing and farming and other places outside of the province. Nick also apprenticed under Willie were the only means of livelihood of the Most shop owners were sculptors, painters Layug of Betis, who, along with Tom Joven people of Macabebe. Santo making was or former helpers of Tatang Ambo’s talyer. of Bacolor, is probably the most accom- then merely an expression of their ingenu- Some were the sons of the old carvers of plished living ecclesiastical artist in ity, and the products were primarily for Tatang Ambo like Adol Aguirre and Beben Pampanga today. After Pinatubo’s eruption, personal, not commercial, use. Shortly Garcia of Sto. Niño de Escultura. Nick opened a shop in his backyard in San before World War II broke out, Pablo Today, Tatang Ambo’s talyer is managed Juan, Apalit. His first works were mostly

60 The retablo of San Vicente de Zaragoza, Bacolor that Tom Joven designed, prior to polychrome painting, which was the style prevailing in colonial times.

61 not make santos four commercial purposes or ready-made santo. They are mostly com- missioned santos. Gener Cortez Bautista His workshop is lo- cated in his house yard at Caduang Tete, San Gabriel, Macabebe, Pampanga. He man- ages at least 4 santeros, 2 painters and helpers. The santos are mostly made of wood. He produces proces- sional images for dif- ferent parishes even outside of Pampanga, patron saints or favor- ite saints for home al- tars or for personal use. At present fiber santos have replaced the traditional wood images because of the limited supply of wood. Most of the santeros have shifted from wood to fiber clothing or cement. This Nick Lugue of Apalit is the best alternative for santong de bulto. You will not need a big log just to produce relieves (bas relief). His cousins and a one santo but instead just enough wood for handful of boys in the neighborhood are the head and hands. The first step is to among his co-workers in the shop. make the base either of cement or a wood His creations are made mostly of wood, post style. Then place the chicken wires to like the processional images and images for produce the desired flap of the dress or the church of the newly created parishes pattern or the shape of the santo. Put the in Pampanga and even outside of the prov- fiber clothing with a chemical over the ince, in particular in Bulacan and Nueva chicken wire pattern of the santo. Place Ecija and for home altars as well. At present all the necessary accessories and details he is working on the two replicas of the then let it dry for at least 2 days. After dry- canonically crowned image of Virgen delos ing, the encarna would be the last stage. Remedios used for parish visitation of the For santeros, this is the easiest way to make Crusade of Penance and Charity. A Nativity images without any delicate work, but un- with 13 sets was his recent major work this like the wooden santo, which can be easily Tom Joven of Bacolor (top) puts 2006 for St. Joseph the Worker Parish in repaired when damaged; the fiber/cloth- finishing touches on one of his works. Floridablanca, Pampanga. He helped in the ing santo has to be entirely replaced even Willy Layug of Betis (above) entertains restoration of the Holy Angel image of An- when only a part of it is broken. students on a field trip to his shop geles City owned by the Nepomucenos now Future of the business under the care of Holy Angel University. Tatang Gener has no plans in expand- finished BS Architecture and Fine Arts at Ivory works: ing his shop because it is expensive to main- the University of Sto. Tomas as a scholar of Due to the scarcity and prohibition of tain more than one shop it due to health Gov. Estelito Mendoza and Mayor Israel the government on ivory import, his ivory problems and age and lack of manpower. Eusoof. works are mostly miniature images for Gone also are the days of all-year-round Layug expanded his shop after the erup- home altars. He is very seldom commis- walk-in customers who ready-bought made tion of Pinatubo by giving employment to sioned for life size ivory santos because of santos (commercial). His business goes 29 skilled workers, mostly relatives, friends the scarcity and the prohibitive cost of down during rainy seasons from June – Sep- and neighbors. It is to his credit that the ivory. tember. Best time is before Christmas, Holy shop helped the barrio get up on its feet Future of the business Week and summer time in which most of again and even achieve its former reputa- Nick and his wife have plans regarding the fiestas are celebrated. tion as a woodcarving capital in the coun- the expansion of their business. Since it is WILLY LAYUG try—a reputation established by the world- in their backyard and very hard to locate Wilfredo Tadeo Layug of Sta. Ursula, renowned Juan Flores. for the customers, they are planning to Betis comes from a family of sculptors and A scholar at heart, Layug improved his have a showroom of Nick’s works in a com- woodcarvers. In fact, the whole barrio is a craft by reading art books, frequenting ex- mercial area. Presently, they are into a one- community of folk artists, from carvers and hibits and joining pilgrimages to Europe and stop shop. Not like other santeros, he does sculptors to painters and santeros. Layug other parts of the world to observe and

62 The 19th-century central retablo of Bacolor buried in lahar in 1995 (left), now restored to its former glory by Joven (right) study the works of the masters. He and his antique collector and ended up as restorer. nora de la Naval de Bacolor (the 19th cen- wife recently went to Oberammergau in His early works were with the collections of tury wooden image of the Virgen on the cen- Germany of the famed Passion Play reen- Jojo Canlas, followed by the processional tral niche of the main retablo of Bacolor, actment, and to his surprise, discovered it heirloom tableau of the Potenciano family restored after the lahar devastation of is also a woodcarving village like Betis. This in Binan, Laguna, the termite-infested 1995); San Pedro Apostol, locally known as year, he will go to Seville, Spain to study Tercera Caida, (third fall of Christ). The next Apo Iro, the ivory image of the Arnedo- the estofado, a finishing technique in which assignment was the Callejero (processional Gonzales clan (restored because of numer- gold leaf is applied over the surface of a image) of San Miguel Arkangel of the De Leon ous small cracks on the face and the recent santo, and painted with the desired color, family in San Miguel de Mayumo in Bulacan. encarna applied which is good for wood but which is scratched to reveal the gold plate In the mid 1990s he served as finishing con- not for ivory); the Nuestra Senora de los with the hue of the paint. sultant in the shop of Myrna Bituin, the fa- Desamparados in Marikina City (in time for In 2002, he was awarded Most Out- mous exporter and producer of wood carv- Episcopal Coronation and eventually for her standing Kapampangan for Ecclesiastical ing in Betis. His succeeding works include Canonical Coronation in October 2005); Art; in 2005, he was named as part of the the Nuestra Senora de La Correa of Nuestra Senora de los Desamparados of Sta. celebration of Pampanga Day. Last year, Consolacion in San Agustin Church in Ana, Manila; Nuestra Senora delos Remedios, December 3, 2005, he was also awarded as Intramuros (in time for the Canonical Coro- Patrona de la Pampanga (in time for the 50th most outstanding Guaguaño for sculpture nation on September 4.2000); the Nuestra anniversary of the Her canonical corona- and ecclesiastical art. Senora de La Naval de Angeles in Angeles tion). He is presently chairman of the Parish City, Pampanga (both the 1830 ivory image Some of his clients include Paulino and Cultural Heritage Council in Betis. owned by the Hensons and the wooden im- Hetty Que and Jaime Laya; President Arroyo’s TOM JOVEN age on the niche of the main retablo in the recent santo gifts to the President of Mexico TOMAS M. JOVEN of Bacolor began as Holy Rosary Parish Church); the Nuestra Se- and to Pope Benedict XVI were done by Joven.

TIPS IN RESTORING A RETABLO 1) Visuals: use old pictures, post- tural features were more on Baroque, con- 4) Scraping of Paint: To further en- ers, souvenir programs as reference. sidered one of the most flamboyant fea- sure the original paint of the retablo, 2) Research: check documents in tures of architectures. painstakingly scrape the existing outer the archives that contain data on the con- -19th century: retablos were more sim- layer because the earlier restorers/paint- struction of the church, including the plified and defined. The prevailing style is ers had merely painted it over with new Libro de Inventario and other related mostly Neo-classical. Good examples of this enamel without scraping the old paint. sources. are the retablos of San Luis and the cen- 5) Paint: Proper mixing of paint will 3) Identification: study the period tral retablo of Bacolor, Pampanga. Take be in the hands of the artist-restorer. Ba- in which the retablo was made to iden- notice of the prevailing painting of gold and sic considerations on paint are as follows: tify the exact prevailing design of that white during this era. latex is good on cement; oil-based is bet- period. Examples of this are as follows; -Turn-of-the-century, with the influ- ter on wood while lacquer paint easily - Late 17th-18th century: polychrome ence of the Americans, Neoclassic style fades. Proper brush stroking is better than and Mexican styles typical of the tropics retained but paintings changed to white- spraying to achieve proper nuances of and influenced by the Mexican culture washed style, sometimes with beige or off- color. One of Joven’s trade secrets lies in (due to the Galleon Trade). The architec- white mixtures. brush strokes and proper mixing of paint.

63 Being the Parish Pastoral Council president of Bacolor, he is undertaking the restoration of the three retablos SANTO EXTREME MAKEOVER unearthed from the 1995 lahar. His present commis- sioned retablo is for the chapel of San Vicente de A GOOD RESTORER MUST RECREATE Zaragoza in his home barrio in Bacolor. This new retablo THE ORIGINAL ENCARNA for San Vicente was based on the prevailing 17th-18th century designs so as to compliment the 18th century original paint image of San Vicente Diacono. This retablo is in the is still in good finishing stage. This retablo for San Vicente will be condition, painted polychrome-style. you also copy the original mix but apply only to dam- aged parts. The right way of scraping the encarna is also one of Joven’s trade secrets. BEFORE AFTER One of Restoring wooden santo is similar the very important things to con- to restoring wooden retablo, the only sider with regards to the finishing difference being in the encarna of the of the restored image would be the face and hands of bastidor santo, be- audience, i.e., is the image being cause this is the most delicate part used as a museum piece or is the and the source of the santo’s life-like image for public veneration? Ac- quality. All santo images owe their cording to Tom Joven, a good re- charm and beauty to the quality of storer considers what is known as their encarna. reversibility which means making If you scrape the santo’s paint and the santo’s restoration reversible discover that the original paint is al- in the event that a more skilled ready in bad condition, you must copy restorer in the future comes along the proper paint mix of the original and is asked to undo the previous paint for the new whole-body restorer’s work for better results. encarna. On the other hand, if the (Santo above restored by Tom Joven.) Beware of fake santos IT TAKES A SHARP EYE, A GOOD NOSE AND SOMETIMES, ONLY INSTINCT

The good news is, most fakers do a sloppy job. The bad (3) The facial expression of authentic ivory santos is re- news is, most buyers can’t tell the difference. Here are tips to strained, i.e., they always seem about to smile, but never do. help you avoid being ripped off: Fakes have full smiles, revealing their teeth; they also have · Genuine antiques have darker exposed surfaces, because chubby, doll-like faces these are the parts often exposed to candles. Repros and fakes · Genuine antiques are elegant and dignified, and possess have uniformly dark surfaces, because fakers don’t know any the look of detached and distant reserve. Fakes are overly better. prettified with very expressive faces. · Genuine antiques have no burnt odor or scent of paints · Genuine antiques have a look of originality and individu- and chemicals; fakes have been coated with calsomine (masilla), ality; fakes and repros have the character-less look of assem- painted and then buried to achieve an “aged” effect. When bly-line products. that is not enough, a blow torch will usually finish the job. Some fakers have unfortunately perfected the craft that · Ivory santos are expensive, but antique ivory santos are buyers have been reduced to relying on mere instinct to recog- even more expensive. Fakers artificially age ivory santos by nize a genuine antique. But the rule of thumb is still: Check boiling them in tea or nicotine, and by roasting them in coals. out the details. Look for hidden mistakes and oversights. Fak- You can tell if they are fakes by keeping an eye on these de- ers focus on outside appearances so much that they overlook tails: details like eyelids, nostrils, nails, garment folds and limbs (1) Genuinely old ivory santos have cracks that are tiny, underneath the dress. Genuine santos exhibit perfection and deep and uneven; fakes have very even and predictable cracks consistency in everything Even the primitive santos of Bohol (2) Artificially stained ivory santos are uniformly yellow; ivory are consistently unproportional. is supposed to stay white regardless of age; if it discolors at all, (Reference: Belinda Olivares Cunanan, “How to Tell a Fake” in Household check the cracks and folds—they should be white inside Antiques and Heirlooms)

64 The wooden bas relief of Santiago de Campostela, at the gate of Intramuros, was carved by Willy Layug of Betis. (Cgstock.com)

65 By Arwin Paul Lingat carving the details and the delicate work hands are carved separately because they especially the head and hair parts of the require more time and a more delicate work. Different forms of Santo santos. This is mostly used for the santong de gonse De bulto – freely standing image carved Sapad – flat blade chisel used for other or bastidor because the whole image is cov- in round. It is sometimes called talyado, details to acquire the desired effect for ered with real vestments. But for santo im- because all the necessary details are carved high relief. ages carved in round this requires more time out, like the dress, hair and sometimes Materials: because the vestments and other accesso- even their accessories. According to Prof. Santos are made mostly of wood. The ries are to be carved. Regalado T. Jose it is from this word that wood carvers prefer the batikuling. 4. Sanding (pamagliya). This process is the name rebulto. Batikuling wood of yellowish white or loamy to smoothen all the surfaces of the carvings. De gonce – images composed of articu- yellow with rather loose texture and plenty At this point the whole shape of the santo is lated joints of arms and legs enabling them of pores, it is easy to work with and quickly in its rough form. to have different postures or gestures. A acquires good polish and dries fast. Re- 5. Paint (encarna) this is the last process good example is an image of the Crucified cently due to the log ban, santol wood has which maintains the tradition of giving a fair Christ for “tanggal” used every Good Fri- become popular among the carvers as an complexion to the image, to defined flesh color day Siete Palabras in which his outstretched alternative for batikuling, because it is and tone to the sculpture. The delicate pro- arms are attached to his body by leather readily available and is not included in the cess gives life/character to the image. of the same color as his arms. When the DENR list of banned log. Accessories of the Santo images image is lowered from the cross it can be Procedure: Blessed Virgin Mary: used as Sto Entierro (Christ lying in state). There are many ways and practices re- Aureolas – placed at the back of the De Bastidor – a frame of light wooden garding santo carvings. The following is the head or encircling the head. Attached to it sticks usually pyramidal or conical in shape general process of carving a woodpiece for are twelve stars. This is the apocalyptic attached to the torso with the head and santo making. version of St. John, the woman clothed with the arms attached and over laid by pre- 1. Choose a dry wood, which has been the sun with twelve stars crowning her. cious vestments. Good examples of these dried for at least two months but the longer Sometimes the number of stars may vary kinds are the images of the Blessed Virgin the wood is dried the better so that the between 24 and 26 stars like the La Naval Mary. possibility of cracks will be prevented. of the Dominicans or the Our Lady of Con- Tools for wood carving: 2. Shape the wood or outline it (Basal, solation of the Augustinians. Dos o Tres – this refers to the width of Basalan/ Bagwas, Bagwasan) to your de- Rostrillo – an oblong adornment, placed the blade of the chisel, used mainly for the sired shape and size. The dos/tres chisel is to frame the face of images of the Blessed basalan or bagwasan (shaping) of the wood. used for this process. Virgin. Sometimes it can be replaced by a Tres pico – chisel used for shaping the 3. Carve the piece (detalye). This is the resplandor or media-luna (crescent shaped) folds of the clothes especially for santos painstaking part of the process; it is the time framed on the forehead and upper part of carved in round. that all the desired effects and details of the head. An example of this is the Virgin Lucub – carved blade chisel used for work are done. Usually the head and the of Manaoag. Female saints also are adorned with zarcillos (earrings) and gargantilla, a neck- lace of precious stones worn by women. THINGS YOU The images of Christ Potencias – rays of light grouped into NEED TO KNOW threes, radiate from the head of Christ, symbolizing his universal power over man- ABOUT SANTOS kind. Sometimes tiny silver leaves or flowers with precious stones can be found on the hair of a certain santo, es- THE PROHIBITION ON IVORY pecially a Sto. Entierro image. IMPORTATION HAS SHRUNK The crucifix THE IVORY SANTO INDUSTRY Rotulo – an inscription or label, this refers to the INRI of the crucifix Cantoneras – the metal works at the end points of the cross, Ramages – rays that emanate from the center of the cross in four sets, also called rayos. Calavera – skull with crossed canillas (long bones) representing Golgotha. Other accessories of the image of Christ are the three nails, sun, crown of thorns, loincloths. Some of the cru- cifixes are adorned by generous devo- tees with ornately worked coverings or planchas (metal repousse) of silver or gold. (Source: Prof. Regalado Trota Jose)

66 the two materials can be com- 5. Start embroidering. bined, e.g., velvet for the manto When all the designs are all em- and satin or silk for the túnica. broidered you will notice that The secret is not to go overboard the paper of the plantilla falls with the glimmer especially for off and is then easily removed. processional santos. Nowadays for a firmer embroi- Basic steps in embroidery: dered pattern, a small cord is 1. Prepare the fabrics to be placed on the edges of embroi- used. Heavier materials for out- dered design. side garments like manto or capa 6. Put all the vestments to- are preferred. For the inner gether. Sew all the lining. A dress or vestida, a lighter one is good choice for lining is satin but recommended. Velvet and satin for less budget, cotton can be are a good combination. Some- used since it is hidden at the times when budget is less, cot- back of the vestments anyway. ton can also be used but it is not Kinds of Thread as durable as the velvet or satin. 1. Bullion Thread – also Velvet or mohair which is of up- called locally as inuod thread holstery grade is not a recom- (from the word uod, meaning THE VANISHING mendation because of the toxic worm) because of its worm-like fumes emitted during embroi- look when cut up for embroidery KAPAMPANGAN dering; it is also tacky. or accents for a pattern; has the 2. Make your measurements appearance of tightly coiled and your patterns on the desired springs in long bunches; also BURDADEROS cloth. Prepare also a bastidor used as bugle beads when placed THE HIGH-RELIEF EMBROIDERY (embroidery stretcher) that can on the linings of vestments; IS WHAT MAKES ALL THE DIFFERENCE accommodate your patterns. 2. Flat Plate Thread – valued 3. Draw the design or the for its shimmer (synthetic thread By Arwin Paul Lingat plantilla. In preparing the de- has a similar shimmer because sign, one of the important things it is made of Lurex, and is longer- Elaborately embroidered find a design. Find inspiration by to consider is the theme, or lasting); it easily tarnishes al- clothing, religious objects, and observing images whose vest- which santo the vestment is for. though this tarnish identifies the household items have been a ments are considered acclaimed For instance, male santos re- embroidery as authentic; mark of wealth and status in masterpieces, whether antique quire fewer design patterns of 3. Cords, cordon nets – may many cultures, and hand em- or new. For a more pleasant de- flowers and simpler curve lines, vary in size, shape and thick- broidery is a traditional art form sign, normally there should be a while female santos, especially ness, and may be single cord or passed from generation to gen- theme—either floral, foliage, of the Blessed Virgin Mary, re- two or more cords twisted to eration in many regions, includ- era-inspired, etc. Proportion of quire intricate designs, usually form a single cord; may be syn- ing northern Vietnam, Mexico, elements should be taken into consisting of different patterns thetic or real metal sheet; and and eastern Europe. The oldest consideration. All the desired of flowers and leaves and more may be smooth or rough. This surviving embroidered works in design will be laid out and dis- elaborate curve lines. Another kind of thread is used as the Pampanga are ecclesiastical ob- tributed. During this step, study thing to consider in creating your stems of flowers and leaves, jects such as santo, altar cloth the possible materials to be design is the choice of thread vines and other accents. It can and vestments. used, including the kind of you will use. Real (not synthetic) also be used for embroidering A santo that is dressed with threads and cloth. All the ideas gold or silver thread enhance flowers and leaves, as well as for vestments is called a bastidor are then drawn on paper like a patterns. It can also be a good edging antique embroidery santo. Its apparel is composed master plan to be executed. This combination if you use both the when transferring it to another, of a vestir (the dress) and a is called plantilla. real or synthetic threads. Nowa- usually new, cloth. manto (the mantle or cape). Another factor to consider is days the high cost of real gold Different types of these The vestir consists of a saya the fabric. Velvet has more body thread and scarcity of the ma- threads are available in gold or (skirt), a tapa-pecho (blouse) than satin, while silk or satin has terial have forced embroiderers silver, and are of different and the manggas (sleeves). more shine than velvet. For life- to use synthetic thread. shades; they can also be shinny Gowns are embroidered intri- size or larger santos, velvet is a 4. Lay down the fabric and or matte-finished, smooth or tex- cately and lavishly with gold or good choice because the cloth the plantilla on the stretchers. tured. To add beauty to the em- silver thread. On the other hand, will have a nice drop to it. Vel- You have to baste both fabric broidery vestments sequins are recamado is an embossed work vet also lets the embroidery and plantilla on the bastidor to also added to the flower patterns on cloth. This is done by sewing shine more as this cloth normally secure them. Cut out card- which in the end look like a threads over preformed pieces has a matte finish. There is a boards, newspapers, felt or your kaliskis (fish scales) design. The of cardboard, newspapers of type of velvet which uses silk choice of filling for the patterns; more fervent devotees sew pre- various shapes and thickness, that is softer and has a very el- sometimes cotton is used as fill- cious and semi-precious stones on and even bamboo. Lastly, the egant, subtle shimmer to it but ing. Baste the cardboard or any their santos’ vestments. Devo- calado (lace work) is done by it is rather expensive. Silk or of your choice filling on top of tees who have received miracles pulling some threads together satin normally has more femi- the plantilla. Sew all the vines or favors offer ex-votos (silver and leaving only a few to form a nine touch and is good for fe- design and other curve lines that votive) which eventually become certain design. male or small santos because it use no filling. fixed fittings on the vestments. Basically the first step is to is not as stiff as velvet. However,

67 THE ART AND CRAFT OF THE SANTERO FOR PRACTICAL REASONS, THE SANTO-MAKING INDUSTRY IN PAMPANGA CO-EXISTS WITH ITS FURNITURE INDUSTRY By Alex Castro

in ivory and also the retablos of San Agustin. By the 19th century, Quiapo in Manila and Paete were the seats of the country’s carving indus- try. Historian Sinibaldo de Mas wrote of the many overly-decorated images of saints and virgins carved in Manila, with hands and heads of ivory, richly dressed and kept in gilded cases. Binondo-born Isabelo Tampingco, a descendant of Rajah Lakandula, was an- other eminent carver who set up shop along R. Hidalgo St., together with Graciano Nepomuceno. He was re- sponsible for the carving of Many Kapampangan santeros, encarnadores, plateros, etc. apprenticed in the magnificent San Ignacio the shops of Maximo Vicente in pre-war Quiapo (above) and master carver santo in the St. Ignatius Isabelo Tampingco (right) in the late 1800s Church, unfortunately de- stroyed in 1945. Tampingco WHEN Spanish missionaries came to Christianize our islands, was the first to incorporate native floral motifs in his carvings they brought with them religious pictures and images of saints such as anahaw and banana leaves. which became potent instruments of evangelization. These art- Santo-collecting came into vogue in the 1930s, although ear- ful images were used to demonstrate the power of the new lier than that Trinidad Pardo de Tavera raised eyebrows when religion over paganism and Islam, and soon, carved “santos” he started using santos as decorative accents for his house rather were replacing primitive anitos in home altars, becoming the than for their originally intended purpose. Other early collec- new focus of household devotion. Thus began a tradition of santo- tors were Arturo Dos Santos, Jose Bantug and Don Luis Araneta, making in the country—and from Manila to Pampanga, local who counts several santos of Pampanga provenance in his col- santeros practiced their craft by carving thousands of holy im- lection. The antique trade boom in the 1960s-1970s hastened ages copied from estampitas and styled by their imagination. the demolition of hundreds of church altars and generated crimi- In his book “Philippine Religious Imagery”, Fernando Zobel nal syndicates, sometimes in cahoots with antique traders. Many de Ayala classified Philippine santos according to style: Popular, a precious santo has been lost in this unscrupulous fashion, like Classical and Ornate. Popular style santos are those made by the 1984 disappearance of Cavite’s Soledad de Porta Vaga. unschooled hands, thus characterized by naive elements such The devotional art of the Kapampangan santero continues as disproportionate-size limbs, grotesque-looking faces, and the today, existing side by side with the province’s furniture industry inclusion of native details as replacements of unfamiliar icono- for practical reasons. In Guagua, Betis, Macabebe and even in graphic symbols (for instance, San Isidro’s ox is replaced by a Balibago, santero shops are still in business, producing not just carabao or San Roque’s dog becomes an “askal”, a local asong religious statuaries of wood but also of modern fiberglass, cast kalye.) Santos of the classical style conformed to the refined cement and resin. Just as crucial as the continuance of the santo images of traditional iconography and showed a higher level of tradition is the preservation of what is left of our “santos” , now cultured skill. Ornate-style santos, often referring to ivories, handful in number, hauled down from ancient altars, defaced by show a profusion of decorative motifs and other embellishments time and fodder for termites in some forgotten church bodegas. such as gold and silver. After all, these precious images, in all their scarred and disfig- Most santos were wrought by anonymous hands, although ured beauty, were not just artful testaments to our skill, but also we know of one Juan de los Santos, an 18th century carver and sublime expressions of a people’s devotion to the Almighty, in a silversmith of note from Laguna who carved religious images the days when our faith was more unwavering, more profound.

68 CARROZA CAPITAL OF THE PHILIPPINES PrProcessionocessionalal CarriaCarriagesges RICH FAMILIES IN PAMPANGA SPEND MORE MONEY AND TIME ON THEIR CARROZAS THAN ON THEIR CARS By Arwin Paul Lingat and Peter Joseph Nepomuceno

Cake-style carroza Triumfal, or chariot

Ochovado, or eight-sided Platform, or box-type Different kinds of Carroza mounted on wheels. Another term in the or ten equal sides; or round sometimes, and The early processions of our ancestors Philippines is Caro (“expensive” in Span- usually of two – three layers. It is in type of used and; as a platform decorated float ish); others say it came from the word carroza where you will usually find the borne on shoulders by 2 or 4 people. Even- carowaje, horse drawn carriages for rich lusutan (air passing through) wood or pukpok tually in middle of 19th century, economic people, while caritela was for the poor. carving technique. growth paved the way for the people to There are no recorded terms for the dif- 3. Platform – colloquially called basket- build big churches and provided their ferent kinds of carroza, but people in the ball court. It usually refers to a carroza of santos with more elaborate processional th 19 century and the people of the modern rectangular in shape, like a flat bed. Usu- floats, vestments and accessories. A good period coined traditional or colloquial names ally, 2 or more figures are placed here, like example of which is Pampanga. It is very (some of them funny) to best describe the those scenes from Holy Week. This is the common for rich families here that family shape or look of the carroza. most familiar type of carroza used in South- owned santos have land titles of their own, 1. Ochovado – referring to the shape hav- ern Spain, Mexico and Latin America. normally of farmlands for their upkeep and ing eight sides and one or two layers. It is prob- 4. Calandras – another form of carroza assurance to come out in procession ev- ably the most common shape of carroza and only for the used of Sto. Entierro (Christ ery year and for the following generations thought of to be mass produced. Probably the lying in state) on Good Friday procession. of the family. It was also a common prac- most versatile among carrozas because it can It was patterned after funeral coaches from tice to give jewelry as a form of thanks- be used for almost any kind of santo. Europe, usually horse-drawn. There are giving or sometimes part of the bargain- 2. Cake – there is no recorded ancient extant examples of this kind in the Philip- ing of a devotee for a wish or intentions name for this kind of carroza. Modern people pines in the early 20th century. It is said granted. It was also in this same period simple called it “cake” because of its lay- that most of the beautiful and elaborate that some andas were converted to ered look and shape just like a traditional ones can be found in Pampanga. carrozas. Carrozas are processional floats birthday cake. It is usually consisting of eight 5. Triumphal – commonly called by lo-

69 cal folks as “chariot”. This is considered to Niño, Resucitado, be the stretch limousine service for the Cristo Rey. grandest santos. It is like the Rolls Royce of Triumphals are in the gods. It would be interesting to note fact a product of that most of this kind of carroza can be Kapampangan inge- found in the Kapampangan Region nuity and excessive- (Pampanga, Northern Bulacan and Bataan, ness. Since santo West of Nueva Ecija). Although there are making and pukpok others found in the Tagalog Region it is be- industry are very lieve that most of them were crafted in popular in Pampanga or copied from the Kapampangan Pampanga, com- version. In terms of style and craftsman- bined with fervent ship, the Tagalog version tends to be less Catolico Sarado de- graceful, flat and looks more like the sled votion of the people used by Santa Claus. Some types of trium- and sometimes flam- phal are referred to as “balsa” (boat/ship), boyant tastes, Calandra, or funeral pyre to simulate galleons or ship. It is usually Pampanga then and thought of that triumphals were copied now has always been the carroza capital of sayal and body. from Spain, but definitely they were not, the Philippines. Pescante – branches of lights around the because there are no record to show that Additional Notes on Carroza: carroza, usually with virinas to cover the thriumphal carrozas ever appeared in Most andas were converted to carrozas candles against the. Spain. In fact, in an issue before the 2nd during the late 19th – 20th century Albortante – branch of a candelabra. World War of a European magazine called Because of the popularity and prestige ______ARWIN LINGAT ARTICLES’ REFERENCES “Excelsior” a triumphal from Intramuros of a santo riding on a triumphal, some Interviews: bearing the image of Miraculous Medal (said ochovados or cake style carroza were borne Bautista, Gener. Businessman, San Gabriel, Macabebe, to be made in Pampanga) was featured and on top of platforms and embellished to Pampanga; Canlas, Jeric. Platero, Santo Domingo, Mexico, Pampanga; Canlas, Jojo. Embroiderer, U.S.A. the Europeans raved about it. It is a theory simulate the look of a triumphal. A good Joven, Tomas. Ecclesiastical Restorer, San Vicente, that triumphals were based in the monu- example of this is the original La Naval de Bacolor, Pampanga; Layug, Wilfredo. Painter, Sculptor, ment of Queen Isabela in Madrid called Bacolor which is now housed in the Museo Betis, Guagua, Pampanga; Lugue, Nicolas. Sculptor, San Plaza La Cibeles. The triumphal was an dela Salle in Dasmariñas, Cavite. Juan, Apalit, Pampanga; Mangalindan, Elly, Embroiderer, Santa Lucia, Sasmuan, Pampanga; Mutuc, Eduardo, th early 20 century invention. Unlike many Parts of the Carroza Platero, Tabuyoc, Apalit, Pampanga ochovados, it is specifically made for par- Sayal – skirt of the carroza to cover the Books: ticular santos, therefore no two triumphals wheels inside. Chua, Clifford and Galende Pedro, OSA. The Gold and Silver Collection. Manila: San Agustin Museum, 2003 are exactly alike. It is usually reserved for Sobresayal – a small rectangular cloth Jose, Regalado Trota. Simbahan, Church Art in Colonial the use of the Blessed Virgin Mary because worn over the sayal, usually of lace or cro- Philippines. Makati: Ayala Museum, 1992 of its feminine style; sometimes it is also chet. ______and Villegas, Ramon. Power, Faith, Im- th th utilized for certain Cristo images like Sto. Sinepa - the border line between the age, Phil. Art in ivory from 16 -19 century. Makati: Ayala Museum, 2003 DIFFERENT WAYS OF CARVING A SANTO

De gonce, with movable De Bulto, fully carved in Bastidor, carved bust with Reliévè, bas relief limbs round (the term “rebulto” conical framework for lower came from this word) body

70 The endangered giant lanterns of Pampanga THE SHEER SIZE OF THE LANTERNS AND THE COST OF PRODUCTION MIGHT LEAD TO THEIR EXTINCTION

The Quiwa-David clan of San Fernando who redefined the giant lantern tradition in Pampanga. Right, one of the Quiwas’ lanterns being hoisted by a crane in Japan The Ligligan Parul of San Fernando is a are considered genuine community heir- larging the lanterns and enhancing their competition of giant lanterns, some of looms. design and technology. which measure two- to three-stories high, History. The tradition of illuminated Rodolfo David, who died in 1971, is the trucked in from competing barangays to the lanterns in Pampanga began in early 19th- acknowledged inventor of the rotor. David church patio on the eve of Christmas. The century Bacolor as part of the annual La belonged to a family of lantern makers in competition showcases Kapampangans’ in- Naval festivities in November. When the barrio Sta. Lucia whose patriarch, Fran- genuity and craftsmanship, and their will- capital was transferred to San Fernando, cisco Estanislao, pioneered lantern-mak- ingness to overspend just to produce a thing the tradition followed as well. The shift to ing in San Fernando in the early 1900s. His of beauty (each lantern can cost up to electricity-powered lanterns occurred in son-in-law, Severino David, introduced bat- P300,000.00). The giant lanterns are prod- 1931; with the problem of lighting thus tery-operated giant lanterns in the early ucts of collective effort and sacrifice, and solved, the lantern makers focused on en- 1940s. After World War II, the family popu-

71 whose passionate advocacy for the preser- vation of this unique folk art has attracted media attention. Technology. The use of rotors to make the lanterns dance is both primitive and innovative. Rotors are large steel barrels rotated manually by a driver to synchro- nize with the music. Each rotor contains a map (actually the design of the light bulbs in the lantern) made of thousands of hair- pins (aspilé); strips of masking tape covers portions of the rotor so that when the ro- tor is turned, the flow of electricity to the lantern is cut and released according to the map, thus producing the illusion of danc- larized the use of papel de japon for lan- ing lights. The beauty of a giant lantern terns, which was a major aesthetic leap. hides the complex network that powers it: Rodolfo David, aside from inventing the ro- 4000 light bulbs individually nestled in a tor, also produced a new lantern design in vast mesh of wires, cardboard and foil, cov- 1958 which has defined the so-called clas- ered with layers upon layers of colored sic parul sampernandu and influenced prac- paper and plastic, and connected to the tically all other succeeding lantern designs. rotors by hundred of yards of electric wire The clan’s present torchbearer is Ernesto tangled like spaghetti at the back of the David Quiwa, who introduced plastic vinyl lantern. as a more durable replacement Top, hairpins convey electricity from the to papel de japon. But the ac- rotor (above) to the giant lantern. Above knowledged king of giant lanterns MADE-IN-TARLAC right, Roland Quiambao is the most prolific nowadays is Rolando Quiambao, and high-profile lantern maker today BROOMS By Arnel D. Garcia & Native hats and capes Miguelito Gabilan The soft broom that Kupiang ebus makers were once ranges from the pilmera (which is the Kapampangans call palis tímbu is ac- found in Barrio Sucad, Apalit. Pro- biggest), segunda, talsera, and kintana. tually a product of La Union but sold in duction started declining immedi- The pilmera is about the size of a big Baguio City. ately after World War II. Historian igu (native strainer-like unrestricted Magpapalis can still be found in Sitio Mariano Henson noted that the de- basket). The sasa leaves which are the Capcap in Brgy. Magao (pronounced ma-go) cline started much earlier, in the major raw material used in the produc- and Brgy. Culatingan in Concepcion. They 1920s, due to the scarcity of ebus. tion of both turung and takuku were used to be found also in Bamban. Aside from Pandan lalaki became once abundant in the these Tarlac towns, broom-making can also the only available raw area but are now hard be found in Brgy. Mabatang in Abucay, Bataan. material in the mar- to find. In fact, suppli- One cause of the decline is the scarcity of raw ket. ers come from as far as materials like flowers of dikut tambu or tiger Turung, kalapio Dagupan in Pangasinan. grass (which is now being sourced from Masbate and takuku Families who still and Catanduanes in the Bicol region; Baguio City In San Pedro, make these handicrafts and certain parts of Nueva Ecija and Davao). Minalin, most people include the Reyeses, Dikut tambu or simply tambu (Thysanolaena still practice the art of Pinedas, Manabats and maxima) is transformed into palis timbu through making turung, Deangs of San Pedro, a grueling and elaborate process of manually re- kalapio and takuku. Minalin. Other articles moving pollens and flowers from the grass stalks. Turung is a cone- that they create include Removing the pollen grains from the flower at the shaped hat while the salakab (native fishing tip makes the stalk bendable and ideal for a soft takuku (some call it basket) and buslu (na- broom. This is one of the most important and in- tukaku) is a kind of tive fish basket con- dispensable aspects of making this native article. cape made from sasa tainer). The latter is Traditionally, the butul sampaga (pollen) is re- leaves, used as protec- made of yantuk moved by shaking and brushing the flower stalks tion against the rain. balangkas (main frame- against walls, tree trunks, and hard surfaces simi- In some areas like San work). lar to the harnessing of leaves of ilib (Cogon grass, Simon, kalapio resembles the old If the Chinese introduced the um- Imperata cylindrica) used in constructing native takuku, which was a head covering brella and the Spaniards influenced the kubu houses. Timbu is usually harvested late Sep- made of katsa cloth with a little open- use of Mexican-inspired capote, the tember only. Among the families in Concepcion ing for the eyes to see, often worn Kapampangans’ turung, takuku and that are recognized as broom makers include the together with a turung. On the other sumbrelu provided better protection Zabala, Canlas, Espino, Dizon and Maninang fami- hand, the usual size of today’s turung against rain and sun. (JPM) lies. (Other source: Koyang Gerry Canlas)

72 FLIGHTS OF FANCY WHIMSICAL KITES, FISH LANTERNS AND OTHER FOLK CREATIONS OF APUNG ELOY OF BRGY. CUTCUT, ANGELES CITY By Ana Marie Vergara Additional notes by Joel Mallari

73 string. Our an- cestors called it a karang- karang because it reminded them of karang, the light awning of a banca usually made of thatched pinaud. Bergaño, on the other hand, PANYAKLIT, fighter kite KARANG-KARANG, simplest kite, SAPI-SAPI, diamond-shaped defines a usually made of paper traditional kite carangcarang as “small car- riages, given to enemy’s palace. Another flying device children when they are learning to walk,” called ‘the sacred fire crow’ could carry i.e., the modern-day walkers, adding, “And explosives to attack an enemy. Later, the sometimes it is said of grown-ups who walk kite came to be used more for pure enjoy- with such eccentric or odd steps.” Thus, TUKONG, ment. kites, baby walkers and groggy adults all box-type kite In other places in the Philippines kite share the same word karangkarang because is known as saranggola (Tagalog), banog- they have the same jerky movements. banog (Visayan), burador (Bicol) or Bergaño further adds, “ipangabbius me papagayo. In Pampanga, we call it burarul iyang carang, loosen the carang from the (from the word bulador, Spanish word for thorns among which it is entangled.” kite). It is generally made of split bamboo During summer and the cooler months and rice paper, or a thin papery material of September to December, kites are a com- GURIUN, made from the pith of a small Asian tree or mon sight in almost all places in Pampanga, giant kite shrub (Tetrapanax papyriferum) of the gin- because of favorable winds. Young men as seng family. (Now, other materials are well as children compete for the largest being used like silk and wires). and strongest kite. Flying kites takes place Fray Diego Bergaño, OSA ob- in rice-fields, grazing areas and even in the served early types of local kites by cemetery. Some kites are even tied to a referring to them in various word post, antenna or gate where they are left entries in his Vocabulario de la to fly for days. Lengua Pampango: Kite combats called saquiran or saklitan Limbe, or limbayan, are often held. Usually two kites take part also palambay, or, in the fight. Once the kites are in the air palambayan, “give it more string, like what boys do with their kites, so the KINDS OF KITES kites could soar Karang-karang – basic kite made of higher…;” folded paper and string Langcul. (pp.) Ac- Sapi-sapi - traditional kite, diamond- tive verb, ilangcul, shaped manlangcul, “to twist, to Tukong - box type, dimensional, geo- coil, like, a rope. P. 1. and metric, consists of four sides P. 2., that which, like, rattan. Panyaklit - fighter, pointed and com- Maca, become entwined, petitive kite, usually made of plastic Kites are believed coiled. Mag, reciprocal, like the snake for durability and lightness to have originated from China. The Chinese coiling itself. Paglangculan, the place. Gurion – the giant of the kites which have flown kites for at least 2,500 years. In contemporary times, lungkulan is the can fly at the very high altitude. Re- They were probably the first people to term Kapampangans use for loosening and quires at least 2 persons to operate make kites, constructing them of wood, tightening the string of a kite. Itubung, on it, one who will hold the string then silk and bamboo. After the invention the other hand, means to tie the kite to a and the other will lift and throw the of paper, it became the favored material. post (Tutubung mi la ring burarul mi king kite in the air. Size is 3 ft. or higher. The earliest function of kites appears to antena ban lang sulapo mas matas). Porma at Uri - figures, the design have been military. Legend has it that Han One simple type of local kites is the are based on animals, images, and Xin, a famous general (206-202 B.C.) flew karang-karang, which is nothing but a piece people (Can also classified as gurion a wooden kite and used the length of the of paper with two folded sides, tied to a because of its size). string to determine his distance from the

74 APUNG ELOY CAN MAKE ANYTHING FLY, EVEN A FERRIS WHEEL

village’s best and worst jobs: he was the village chief and cemetery caretaker at the same time. Apung Eloy was Cutcut’s teniente del barrio (barangay captain) from 1948 to 1951. From 1848 to 1988, he worked as the sepulturero (cemetery caretaker) of the town’s old Catholic cemetery, located just across his house in Cutcut. He was elected to the barangay council in 1960 and served as councilor until 1972, when mar- tial law was declared. He started making kite as a hobby way back when he was still a boy; he turned professional kite maker after winning the top prize of P1500 in a Jaycees-sponsored kite flying competition held at Clark Field in 1991. In 1992, he won the Bear Brand- sponsored kite festival and won again, and has not stopped winning ever since. Actually, what makes Apung Eloy a folk artist is the design of his kites. His kites take the form of birds, superheroes, fish, animals, angels, saints, even national heroes, each personally hand-painted by him. But what makes him a folk genius is that he can make them fly. Recently, he built a miniature ferris wheel, made of soft drinks straws and bar- becue sticks, complete with details such as tiny dolls strapped to their individual seats. When the kite flies, the ferris wheel rotates high up in the sky like the real thing. It is truly a wonder to behold. Apung Eloy also developed the concept of folding kites, using wires as hinges, for easy mobility, especially to and from com- petition sites. Some of his creations have been bought Top, Apung Eloy’s grandson appreciates the papier-mache Nativity figures which will be displayed at the intersection near the public cemetery in Cutcut, Angeles City. Above, and subsequently flown to Taiwan, the Apung Eloy applies finishing touches on the fish lantern, to be used during the lubenas Middle east, London and Los Angeles. He (Christmas lantern procession). has also conducted workshops on kite mak- ing at Shangri-la Makati, and locally in and at a quite high altitude, the competi- through the kite’s buntuk (head) becomes Magalang, San Fernando, Arayat and Mexico. tion begins. The aim is each kite flyer to the kite’s tusuk (pointer), which is both for Aside from flying and designing kites, bring down the kite of his opponent by balance and for attack. To prepare the Apung Eloy is the only surviving maker of making his own kite poke at, swoop upon, kite’s string for cutting the opponent’s fish lanterns in Pampanga. or cut the string of, the other kite. This string, old electric bulbs are smashed and According to historian Mariano Henson, requires careful timing and calculation, pulverized, mixed with moist flour and then the traditional Christmas lantern proces- especially in pulling the string, releasing rubbed around the string, making it sharp sion, called lubenas, once featured an ar- it, and making it entwine the other kite’s enough to cause injury on kite flyers and ray of animal lanterns, representing sym- string until it snaps. Another technique is bystanders (flyers usually wear thick bols of Christ, the most spectacular of attacking the other kite with the tusuk of gloves). This paste of ground glass and which was the fish lantern. Its fins, mouth the kite’s buntuk, until the other kite is so flour is called paragas; some flyers experi- and tail, made of bamboo sticks and papel perforated with holes it loses its aerody- ment with boiling the glass with water and de japon, could move based on an internal namics and crashes to the ground. cola to make it more lethal. contraption. It served as an added attrac- The kite looks light and fragile but is APUNG ELOY, FOLK ARTIST tion to the religious procession. Today, only actually a war machine that’s made for the Eulogio Catahan, 78, of Barangay a few barangays in Angeles City still have kill. Its galudgud (spine) protruding Cutcut in Angeles City, once held his the fish lantern in their lubenas, and only

75 Apung Eloy makes them. ued. Past organizers wish SAKLITAN BURARUL the local government The City of San would revive it to balance PARTS OF A KITE Fernando, with the help of the festive nights of giant giant lantern maker lanterns this time of year Galudgud (spine) - vertical stick that serves as the kite’s backbone Roland Quiambao, orga- with equally festive days of Pikurus (spar)- horizontal stick(s) tied to the galudgud; usually bow- nized the first Saklitan kite flying. shaped Burarol in December 2003. Materials in making kites Panabit (frame)- sticks that frame the galudgud and the pikurus The competition had three Newspaper, Japanese pa- and hold the stretched bulung to form the kite’s body categories: per, crepe paper, plastic, Bulung, katauan (cover) - the paper, plastic, or cloth cover of the Singkatunud – kites glacyn or silk, palis-tingting kite’s frame with the steadiest flights (sweeper’s broom), bamboo Parisukad (bridle) - one or more strings attached to the spine or Singkasanting – best- (make sure to use matuang spars, which steadiesthe kite in the air designed kites kuayan, or old bamboo that’s Tali (flying line) - the string running from the kites’ bridle, all the Pakluran/Saklitan – at least 1 yr. old), malpang- way down to the flyer’s hand that holds it combat of kites nasi (boiled rice), flour with Iki (tail) - a long strip of paper or plastic that balances the kite dur- Although San water, paste, rugby or glue, ing ascent and flight; not all kites need tails Fernando’s kite festival crayons, acrylic paint (for Palekpek or paiki (reel)- the object used to weigh down the flying had another successful decorations), string, thread line or side of the kite, to keep it from getting tangled or from flying run the following year, it Sources: Filipino Heritage, away has since been discontin- Ethnography by Ricardo Galang, www.hawaii.edu, and Victor Koo.

HOW TO MAKE A KITE Materials: palis-tingting, newspaper or used pa- per, glue or paste, thread or string STEPS: Cut out a 14-inch square of paper. Tip: Fold diago- nally before cutting. For the first stick, break off the thin end to leave it about 2 inches shorter than the diagonal of the square (i.e. so that you have a 2-inch flap of paper at the corner). Place one end on the corner of the paper, and put it diagonally. At the other corner of the paper, apply glue and fold over the stick. Cut out two pieces of paper (about 2 inches square), apply glue and use them to secure the top end of the stick as well as the middle. Bend the second stick into a curve. The length should be enough to touch the corners when bent (trim the length by breaking off the thinner end of the stick). Bending the stick ensures the kite is taut enough so that it catches the wind when flown. Apply glue at the corners of the big square paper and fold them over to secure the bent stick in place Punch small holes in the kite, 2 inches from the both ends. Thread a doubled-up string through the holes and secure the string. Tie the string such that the front end is slightly shorter than the rear section (2/3 x 1/ 3). Tip: If both sections are of the same length, the kite wouldn’t fly. If the rear section is longer than the front, your kite would fly backwards. Loosen your grip on the string when the kite is diving to avoid total landing. Cut the remaining paper into long thin strip. Use glue to join the strip and attach it to the kite for its tail. Decorate the kite if you wish. Attach the string to the kite and you’re ready for your kite to catch the wind.

76 Material culture means artifacts pro- cups, coconut shells, dirty clothes and other ing utensil is called patolang by the duced by the people to meet their ecologi- household items of a typical Inarraro Negrito Kapampangan Negritos. Food preparation cal and interpersonal needs: homes, imple- family. When transferring from one place utilizing green bamboo tubes as utensils ments, weapons, attire, decorative arts, to another, one or two lubons are used to consist of: music, games and food. These are visible hold household items. (1) Cooking with the use of a single and concrete components of culture. Tukil. The tukil is a bamboo tube of node bamboo with one end open. The part Changes in culture are important by virtue single node closed at the bottom and with exposed to fire is closed. Food is cooked of their close relationship with social orga- a wide opening on top big enough for the while the bias (a node), with a support nizations, local practices and values. They hands to pass. It is used to hold salt, arrows from below, is in horizontal position. The are the artifacts (manufactured goods and and feathers. The Negritos have healthy node on the top is carefully removed so diaries of processes) that result from the stomachs. Provided there is salt and rice, that it can also serve as cover. Only fresh development of technology. Such artifacts all is well. While rice is still hot, it is placed green bamboos are recommended as uten- include: processed sils. The taste of the food foods, shelters (from is unfavorably if old-dry rude huts to elaborate bamboos are used. temples), items of DISAPPEARING (2) The double- clothing, and other boiler is another kind of material objects and cooking utensil. The devices introduced to GADGETRY utensil consists of two the society. main parts, the smaller Understanding the TRADITIONAL UTENSILS, WEAPONS, and bigger bamboo tube. material culture of the TRAPS AND MUSICAL INSTRUMENTS OF The small tube is inserted primitive into a larger bamboo Kapampangans, specifi- PRIMITIVE KAPAMPANGANS AND AETAS tube that is filled with cally, the Negritos of water. In case a smaller Pampanga and Tarlac, By Dr. Rodrigo M. Sicat bamboo is not available, enables us to see our- a smaller tube could be selves better. Ordi- had by skinning or remov- narily, we are unaware ing the true skin of the of the special lens bamboo with the aid of a through which we bolo, thereby reducing should look at life. The its diameter to be accom- scientists of human af- modated into the bigger fairs learn as much tube and for water to be about the eye that sees lodged. Unlike the first than the object seen. utensil, the double-boiler Anthropologists present is heated in a perpen- a great mirror to man dicular position. and let him look at him- (3) The third is the self in his infinite vari- bamboo with two cooking ety. This, and not the partitions. The first tube satisfaction of idle cu- may be used for cooking riosity or romantic rice, gabi (taro), ube quest, is the meaning of (yam), and other root the anthropologist’s crops while the second works in non-literate tube partition is used for societies. cooking fish or other Hence, this article available viand. The tube brings to every reader is utilized while it is in a journey to the past horizontal position sup- and inter-connects it ported by Y-shaped fresh to the present vis-à-vis green pegs. In both selected material cul- tubes, slanting cuts are ture of the primitive Some of the indigenous traps used by native Kapampangans and Aetas made with the bolo. Un- Kapampangans. cooked food is placed UTENSILS on banana leaves. With plain water used as into the tube through these slanting cuts Lubon. The lubon (pack-basket) is a soup and salt as ulam (viand), a good viand and then covered again with the remov- bamboo handicraft made and used by the could be had. Longer bamboo tubes hold able covers. The green bamboo utensils are Inarraro Negrito women. It is used to hold prized arrows, especially those that have almost burned after cooking. To retrieve root crops gathered from the fields. A belt been successfully used in shooting and kill- cooked rice, they are split length-wise. The which is usually placed on the head is pro- ing wild animals. Feathers are also placed bamboo tubes are burned and destroyed vided on the lubon to facilitate ease in inside the tukil. Feathers are used to bal- after one cooking and are thrown away if carrying it. ance the arrow shaft from its take off stage not used as fuel. Rice cooked in green bam- When not used in the fields, it is uti- to its landing time during hunting. boo utensils is more palatable than the rice lized at home to hold sartin plates and Patolang. In general, the bamboo cook- cooked in metal utensils like the alumi-

77 num caldero (pots). tar is made of wood roughly smothered with at paslo (bow and arrow), palang (bolo), All tubes used for utensils as well as for the bolo. It has four nylon or piano wire sulbatana (blowgun), paslo-baril storage are made from bamboo (Scientific strings attached below the bottom hole and (crossbow), paltik (shotgun), and name: Bambusa vulgaria Shrad. and the handle. It is tuned by adjusting the fin- pandacdac (dagger). Bambusa spinosa Blm). Some species of bam- ger-like pieces found at the bent handle of The arrowshaft is provided with metal boo, provided they are dry, are also utilized the guitar. It is approximately three feet arrow points designed for different pur- for kindling fire in the absence of matches long with a hallow belly and a circular hole poses. These arrowpoints are called and other fire-making devices like lighter. in the middle or center. binuran, bilacan, balangat, biniling, Sandok (ladle) is a blade-scooped WEAPONS AND TRAPS dumpil, hawil, puhiw, halapon, and utensil made of halved coconut shell Weapons. The Negrito still utilizes a talumang. tied to a wooden handle. Coconut number of weapons for defenses and hunt- Traps. A sizeable number of traps are shells are also used as plates and ing-trapping purposes. These are: the bay still utilized by the Negritos. Among these drinking vessels. Bigger coconut traps are the lawan, patikding, shells serve as basin for washing bintay/balsis, baih, paruklo and oth- hands before eating. ers. Aside from these traps, the MUSICAL INSTRUMENTS TYPES OF TRIBAL Negritos use two warning devices to call Some of the known musical instru- ARROWS their attention when somebody is com- ments of the Negritos are: buluyung ing. These warning devices are called udyong (bamboo flute), tambuli/ the palantak and kasig-kasig. The two patutut (trumpet made out of carabao warning devices, placed across a path, horn), tabung-bung (bamboo drum) Binuran, an arrowpoint with large are designed to give sound once the metal, for hunting pigs and guitar. string to which they are attached, is dis- Bulung-udyong. The bulung-udyong turbed. is a musical instrument played in the The palantak is constructed out of evening. It is made out of special bam- dry bamboo which is split up to one in- boo specie. It has five small holes, two Bilacan, a trident-like point for shooting ternode length. This end is slowly and on one side and three on the other. It is birds and bats. Note that this arrowpoint carefully opened and a piece of wood is about one to one and one-half feet long. is made from a bamboo known to the inserted between the split pieces to In the olden days, it was used to keep Inarraro Negritos as baete serve as trigger. The trigger in turn is strangers away especially the enemies. tied by a vine or green nylon cord which Enemies were made to believe that the is placed across the path where intrud- Negritos are still awake. ers are expected to pass, and the other The bulung-udyong is given much end of the vine is tied on the opposite care by the Negritos. It is placed on a Balangat, trident-like point, used in tree. When someone steps or disturbs ihawit (flute hanger) when not in use. shooting birds and bats. Note that the rope vine, the trigger is released and Tambuli. Another musical instru- arrowpoint is made of steel. the two pieces of bamboos create a ment is the tambuli/patutut (trumpet) sound loud enough to warn the Negrito used by the Negritos to make announce- of the presence of someone not famil- ments. When they go hunting in the iar to the environment. mountains, they bring besides the bolo Halapon, employed in shooting birds and The kasig-kasig is another device and bow and arrow, a tambuli. When bats. Note that the three points are bound utilized by the Negritos. Several pieces they catch or kill an enemy, the tambuli together at one common point. of dry and split bamboos of about one- is sounded to announce the event so half by five inches are tied together by that those back home would know. a nylon cord in a circular shape. All of The tambuli is made of discarded Puhiw, used by the Inarraro Negritos in these pieces of bamboo are attached to carabao horn. Through the Negrito in- shootung Lamarin (wild cats) a common cord which is placed across genuity, they are able to produce sound the path where strangers are expected from it. to pass. This cord when disturbed or Tabung-bung. The tabung-bung stepped on transmits the disturbance to (drum) is a musical instrument that is Biniling, extremely difficult to make, used several bundles of split pieces of hang- used by the Negritos during their reli- and self-defense ing dry bamboos which produces sound gious activities. It is a meter long drum to warn the Negritos. The sound is the used only in the ceremonies for the spir- kasig-kasig, hence, the name of the its. It is made of kawayang mantug warning device. (Bambusa spinosa Blum). All of the Dumpil, employed for fighting and for Today, many of these precious heri- nodes are knocked out and one end is ceremonial purposes. tages are lost due to the displacement covered with a piece of tanned deer of the Aytas: invasion of ancestral do- skin. The drum is purely used in cer- mains, the eruption of Mt. Pinatubo, emonies; it is never played, even Hawil, for shooting wild cats. lowland migration, cultural contamina- tapped, at any other time. tion and other reasons. Guitar. The home-made guitar is used during religious rituals and social Reference: Cosme, Ernesto O. (1974). Inarraro Negrito: gatherings although the lowland guitar Talumang, for shooting labuyo (wild A Case Study in Education and Culture. (Unpub- is slowly taking the place of the crudely chicken) and cats lished Doctoral Dissertation, Centro Escolar Uni- home-made guitar. The mountain gui- versity, Manila)

78 barag (monitor lizard), ubingan (snake) and the like. In an 1860 Kapampangan glossary recorded by Fray Diego Bergano in the early BOATS 1700s, he was able to note several croco- dile words such as suba and subasuba which AS COPING MECHANISMS is particular to upstream navigation like a TO FLOODS AND TIDES crocodile. In the same compilation, he also gave another spelling for a barangge (dipth. FIBERGLASS, ALUMINUM, PLASTIC AND EVEN Baranggay) as barag-gay. This term referred to be a boat (whose passengers were the STYROFOAM HAVE REPLACED CANOE-TYPE subjects of its captain, with him as their WOODEN BOATS AS A RESULT OF THE LOGGING BAN head which later on became the Cabeza de Baranggay, a town chief, and making his By Joel Pabustan Mallari subjects as his cabangca). It is clear it was not misspelled since it was also given an Philippines boats recovered in Butuan, Bangka, baranggay, dapu, naga… emphasis on the hyphenated spelling. If this Agusan del Norte were round-bottomed, Oral Kapampangan tradition maintains were so its root word might have been de- sail-propelled, rubber-steered and carbon- that early boatmaking was once a flourish- rived from this specie of reptilian lizard, dated to be CE 320, which predated sev- ing industry within the present political barag. Another entry worth to associate to eral European boat constructions. In boundary of today’s Kapampangan-speak- this idea is naga. It is described by Fr. Pampanga, it is within the vicinity of ing region. The people held their Bergano as a “figure that is placed on the Candaba where the oldest evidence of ethnolinguistic identity as “Kapampangan”, prow or bow of a boat”. This figure was boatmaking was discovered. This artifact which defined them as people of the popular in pre-14th century Southeast Asia called Daras Candaba (Candaba adze), is “riverbank”. Thus their cultural pattern depicting a sacred snake recognized in Chi- dated at about 5000 years old, made of made it necessary for them to design trans- nese mythology as a dragon. Thus croco- polished basalt stone of the Neolithic Pe- portation crafts like bangka which were diles, snakes, dragons and other reptilian riod. Other crafts and practices might have adapted to deep and shallow waters. creatures play a significant role in the evo- been difficult to achieve without the use Boats are believed to have been built lution of Southeast Asian culture where the of this type of tool. From boatmaking to around 3500 BCE, when the Egyptians de- Kapampangans geographically belongs. In exploration of other islands and seas, plant- veloped carpentry skill for building plank fact the use of carved coffins with figures ing and the initial building of balen or watercraft and perhaps used these for a of crocodiles and humans were previously settlements, this specialized tool of early sickle-shaped boat. In China, ducks prob- noted by J. de Plasencia (1589), P. Chirino communities played an important role in ably gave the Chinese the idea of making (1602), A. de Morga (1609), D. de Bobadilla th the evolution of the Kapampangans and the ships as evidenced by the recovery of a 5 - (1640), L.W. Benedict (1916), W.G. Solheim rest of the Filipinos. If the early Chinese century BCE lacquered vessel in the shape (1959), F.L. Jocano (1968 and 1975), and were inspired by floating ducks, the early of a mandarin duck. Traditionally Southeast W.H. Scott (1994) to be known relatively Kapampangans might have been enthused Asian ships sailed across the Pacific Ocean throughout the Philippine archipelago. in by the floating image of dapu (crocodile), to as far as the Easter Island. Here in the effect this tradition is not only limited as

79 “accents” to banka boat. Early 18th- but also found as or- century namentations of na- Kapampangan vo- tive cannons called cabularies include lantaka, and the cor- bangka as a canoe bels or zapata of old or sampan, a gen- church and convent eral term referring structures. to almost all kinds Bangka Ethnog- of boats in the raphy Philippines. Other In the terms recorded in- Kapampangan Re- clude lamo, gion, canoe-shaped damulas, tapác, boats called baluto pang-ga, bire and balbaloto were (diphthong biray), made by carving out biruc, daung, the inner portion of lunde. The boat or logs using several barge that is types of daras (adze, loaded is called sometimes called as unda. The term surgamat or sarul bayoc may have gamat pangbanka), been a common gobia, lukub, pait (all term then; it chisel types), palakul Prehistoric settlers in Pampanga dating back to 3000 B.C. means “to become and palatio (axes), already knew how to carve boats out of logs bent downwards, and balibol (native like, the floor, the drill),. are saved from deforestation. beam or rafters, gird, plank,” like the Most old boatmen in Pampanga and Bangka types carang, probably due to its loaded capac- coastal towns from nearby provinces like Nowadays, the term bangka generally ity. The banca with fastened bamboos to Bataan and Bulacan point out that the early refers to any small, waterborne vessel that the sides is quetigan; and guelagalan, the tradition of boatmaking purportedly origi- displaces and excludes the water surround- insulated or waterproofed boat. A boat that nated in Paglalabuan (now Sta. Ursula), a ing it. Traditionally, boats are distinguished is beached by strong winds, but not village in the old Betis district of Guagua, from ships by size--any vessel small enough wrecked or capsized, is described as Pampanga. Old families in the area such as to be carried aboard a ship is considered a bingbing or mibingbing. It is described as the Layugs, Pabustans and Tolentinos still remember some of the noticeable rem- nants of traditional boat-making years in BOAT FOR THE DEAD their area. These clans intensely narrate the village’s significant role in the produc- Boat-shaped coffins made of hard wood tion of various bangka, ranging from the have beeb found in a limestone cave on the longest to the smallest (from about 8 ft to western side of central Cebu Island. In pre- 35-40 ft long). The old sites of the Spanish times, the Filipinos commonly buried boatmaking industry include the old coastal their dead in caves utilizing coffins of this type villages in Sasmuan, and another in San (some were beautifully carved). This practice Agustin, Candaba while remnants of a mid- still persists among some non-Christian peoples, such as the Bontoks of Mt. Prov- night industry still exist in Abucay, Bataan. ince (see R.B.Fox 1960, Photo courtesy of the National Museum Collection). Such repair shops for old pieces can still be This boat-shaped coffin could be similar to those uncovered in the old area of found in several villages of Sasmuan and Balas now known Sitio Lalam-ungut of Brgy. Sta Cruz in Lubao, Pampanga which are Masantol and Candaba. said to have been made of bulaun wood (Vitex parviflora Juss.). These old coffins Next to this canoe-type is a “3-piece” were said to contain not only human bones but also goods of various Chinese wares small, since it uses 3 major pieces of from the Ming Dynasty. wooden planks. Most of these types are common in San Luis, Minalin, San Simon and Candaba. In Sto.Tomas, Minalin Apalit and “ ” especially in Sasmuan of fiberglass and gal- BANGKABAUNG vanized boats are now made. These pieces In Kapampangan bangka generally refers to a boat while kabaung is a casket or basically follow the general contours of coffin. Both serve as “containers” the former for the living and the latter for the canoe type boats but are now shorter in dead. Nowadays, the townfolks of Sto.Tomas, use their caskets as makeshift boats length. They appear lighter than the tradi- when their coffin shops get flooded during rainy season serving not only their im- tional bangka thus making them disadvan- mediate family but also the whole community. Tthis adaptive practice is an evi- tageous in strong current and waves. This dence of their ancient character belonging to the early Austronesian speakers. The new type of bangka threatens the tradi- term kabang/bangka was once defined as a “container”. This town’s primary in- tional production of canoe type boats af- dustry is casket making which has made Sto. Tomas one of the leading manufacturer fecting the boat industry of Abucay. On the of this infamous craft in the Philippines. other hand, the mountains along Zambales

80 midunggul when it is violently dashed, usu- in Pampanga. This is usually used to carry which is one of the favorite specie for the ally against another boat on its cascos (the big loads of agricultural, industrial prod- construction of deruit. Other wood species sides), not its proas (prows). The boat is ucts and raw materials. Since it is a much include lauayan, antipulu (antipolu), leyagan when it is rigged with a sail; this bigger boat, its production cost may reach pakalkal and santul. Kalantas was once also refers to the point of arrival, destina- up to half a million pesos. It has an aver- the most in-demand specie of lightwoods tion, or place of arrival, like paglayagan. age lifespan of 50 years and can carry at but due to its scarcity and fast depletion of Examples of boats recognized by ordi- least 50 passengers. The balutu, is a light its natural habitat in the mountains of nary boatmen and fishermen of southern narrow pointed lightweight canoe type boat Zambales, it is now a rare find. Among the Pampanga include dune (or dunai), rowboat identically pointed on both ends. It can be heavy wood varieties used that also float type. It is a small boat propelled by oars. It paddled by one or two people and some- on water include kamatchilis, lakan, measures 12-14 meters wide and has a to- times can carry other people as passengers. lalasapin, and akasia (kalubtus or tal production cost of PhP 6,000. It is a light- Canoes were originally made from natural patikulodiung). Bulaun and other specie of weight boat designed to be propelled materials, but modern canoes are made of dipterocarps are no longer used since these through the water by one or more people aluminum or of molded plastic and fiberglass varieties have poorer floating properties rowing with oars. Pandakit, pandalakit, such as those manufactured in Sasmuan. An- and are now banned for logging. The tools paro (parau), is another boat type used to other is the balsa which is an alternative used in the production of modern bangka service people, it is another means of trans- form of bangka, used in flooded areas of the range from the traditional daras, bareta, portation aside from jeepneys and tri- province. The materials used are tradition- pitik and various sets of chisels (pait, cycles. It runs with the help of a motor fu- ally bamboo or any of the now available light- lukob…) to the modern-day chainsaws, eled by diesel. It is bigger than the dune. weight materials like scrapped Styrofoams. grinders and other powertools. It measures 12-14 meters wide and has a This type is often used in Minalin, Sto. Tomas, The use of various bangka is adapted to total cost of about PhP 35,000. The Apalit, and San. Fernando especially during the fact that Kapampangans especially panauid, lunde (lundai), a type of boat the flood season. those settled in the southern edge of the that also runs with the help of a motor. Just Raw materials and production province usually experience extended pe- like pandakit it is used for business, for Hardwoods are the materials used for riods of flooding brought about by long sea- fishing and to transport people to nearby boat construction. As such, several wood sons of rains and typhoons, and by the pe- places. It measures 12-14 meters wide, and types are preferred by boat makers and riodic rising of tides. may cost around PhP 35,000 for the ordi- requested by boatmen. Among the light nary production. The deruit ( or derwit) is woods include tangili (a hard reddish brown Sources: Romeo Bonifacio, 58 yrs. old a boatmaker the biggest among the bangka types used mahogany) and the giyu (or gijo) type of Sagrada II, Masantol Pampanga; Efipanio Manansala 53 yrs. Old of Sagrada I, Masantol, Pampanga;

the workshops are located in barrio San Vicente. In this barrio, roads and small streets are lined with a lot of coffins showing different stages of production and types. Most workshops are small and a lot of residents have the technical skills and common art- istry in the production of this fine craft. The said industry is one of the oldest in the province but it was in the post-war period when mass pro- duction prospered. During that pe- riod, kabaung (native caskets) were usually made of fine timber. The town is now acknowledging as the coffin capital of the Philippines. The earlier version of kabaung was carved from a large single piece of log using planks instead of whole pieces CASKETCAPITAL OF THE PHILIPPINES for the purpose of maximizing the use of wood brought about by the decreas- ing availability of logs. From what the Cash in the box old mangabaung (casket makers) knew COFFIN-MAKING AS COLLATERAL INDUSTRY about the old practice, they associate TO BOAT-MAKING IN STO. TOMAS the early technique of kabaung-mak- ing as a thing very similar to the early By Joel Pabustan Mallari manufacture of canoe-type boats com- mon in their area at the time. Thus The smallest town in Pampanga in and the manufacture of all purpose vehicles even to this day, tourists and non-residents terms of land area produces same of the present in the Municipality of Sto. Tomas. of this town often mistake the coffins for most important industrial products in the Casket-making is not actually exclusive to boats when they see the unfinished pieces province. These include the indigenous this town as the makers can also be found lined up not only along streets but also along casket industry, pottery making industry in Minalin and nearby barrios, but most of riverbanks for drying.

81 The production begins with the selection futuristic accents. In terms of cost range, the of the right materials like wood or in other cheapest are usually made of ordinary lum- cases sheets of metal. The production is not ber while the expensive ones have techno- anymore done by a single craftsman as in old logical attachments like special vault cap- days but by a team of anluagi (or kalpinteru), sules, glass materials, temperature control- maninang and mag-welding, lateru and lers etc. Among the known workshops in Sto pukpuk craftsmen, masiliador and manisis, Tomas include JERMEL Metal & Wood Craft of mag-upholstery, pintor (painter, sprayers, air the Reyes clan, SLMC Enterprises formerly brush artists). L&N Wood & Metal Craft of the Arceos, Today the production of kabaung is not Paralaya Wood Craft pioneered by Apung only confined to the wooden types but also Eciong (Florencio Arceo) in 1972, RTJ Mer- to a variety of resin, coated/molded and chandising of the Canlas family, Selerino hammered metal sheet types. Their market are continuously innovated just to adopt to Woodcraft and Metal, ALCO Trading etc. De- is no longer exclusive to the province. It regu- the fickle tastes of the market. Thus the style spite the great innovations of this industry, larly supplies most of the funeral parlors in and color motifs range from the so called OMB sales continue to dwindle today not only be- Luzon, among their fine pieces shipped all (ordinaryung miki-burda) to the most color- cause of competition from other manufac- over the Philippines and even Hongkong. ful ones with floral decorations (like the most turers in the Philippines also but because of Casket sizes are standardized but the designs in demand tulip flowers design) and other the soaring prices of raw materials.

uitous elongated rear for the casket. Customers, usually owners of funeral parlors, specify their designs to fit their tastes and needs, and they often pro- vide the vehicle. Modifications include upgraded shocks, tires and wheels, ax- les, power train and numerous structural reinforcements to the frame, such as thicker cross members and shock tower braces. FROM CAR TO KARO When a car, usually the box-type model, arrives at the shop, its interior from the instrument panel back is dis- THE mantled and placed on a large cart, which bears the car’s code. The frame is braced with a steel support to preserve its integ- FUNERAL rity, and then the destructive adventure takes place. Various metal craftsmen and CARS OF artisans, known as latero, use several machine-shop tools to slice through the STO. TOMAS roof and sever the remaining roof support to create a de facto convertible. COFFIN MAKERS BRANCH OUT TO FABRICATING A pre-assembled cage of welded tu- KARUNG PANGMETE OR KOTSING PAMBURUL bular steel is lowered onto the bifur- cated frame and attached through ma- Most if not all ancient funerary be- carroza, Spanish for carriage, usually ap- chined and dimensioned locations that liefs are hinged around the concept of a plied to the vessels carrying the religious ensure both a controlled fit and repeat- journey to the afterlife. The Manunggul images during procession. Kapampangans ability. In most cases, the wheel wells jar recovered in Palawan, for example, use the term to refer to a ‘fashionable’ are boxed-out with structural steel, cre- depicts our ancestors’ idea of a boat ride funeral coach (limousine or car); in ating two long ledges on either side of to eternity. Thus, the practice of trans- Sto.Tomas town where they now assemble the load floor, and a steel frame is porting a dead person from the house to them, they are called kotsing pamburul or welded over the floor which both raises his final resting place in the cemetery saken pamburul. the load floor and adds to the chassis’ prefigures his soul’s journey to the next Most karos in Manila and Central Luzon rigidity. Extensions of the floor pans, life. In Pampanga, funerary beliefs and are manufactured in Sto.Tomas. Karo mod- rocker panels and roof and side rails are practices are so widespread and elabo- els range from the oldest extant cars in the then specially welded into place, pro- rate they constitute an entire subculture; Philippines like Mercedes Benz, Chevrolet ducing models such as the so-called in the town of Sto. Tomas, death is even a and Cadillac to the modern Toyota, “Diana Style,” designed after the hearse cottage industry. Mitsubishi, Nissan and Honda. used for Princess Diana’s funeral. It began as a coffin industry; recently, What the craftsmen of Sto.Tomas do is (By Joel Pabustan Mallari with it has branched out to funeral cars, or cut the car in half and then reconfigure it Rowena L.Balagtas, Naiza G. Evangelista karung pangmete. Karo is abbreviation of to look like a funeral coach with the ubiq- and Joan M. Tulabut)

82 Balangcas are either farmers or lateru APV: Cars made by folks in (metalsmith). Today this relatively new tra- dition is about to vanish because of the rapid increase of the cost of petroleum products Bgry. Balangcas which fuel this invention. Recent statistics THE GOVERNMENT’S DECISION TO BAN EXPORTATION shows that most men in this barangay are OF APV AND ALLOW IMPORTATION OF ITS FOREIGN fast becoming OFWs giving up their more important skills. In fact even their APV co- VERSIONS IS KILLING THE INDUSTRY operative organization has been closed down By Joel Pabustan Mallari due to unpaid debts. Presently, their town is trying to recover the lost glory of their G.I sheets, stainless sheets, all ex- business. In the years 1992-1998 (during the amples of locally available metal FVR presidency) they experience a resur- sheets. The rest of the parts are gence of the business until it slumped again bought, like the surplus chassis and in recent years. What affected the industry engine, batteries, tires etc. After was the government’s decision to allow im- the major assembly, painting and ported surplus vehicles like Hyundai, Kia, surface finishing come next, using Delica and Besta which directly rivaled the brand names like Galvacoat Epoxy, local market. Barring the exportation of this Polytop Filler, and other finishing APV by the government also added to the chemicals. The attachments of fin- deterioration of the industry. According to ishing accessories and its windshield Mr. Raymundo Tongol, owner of “Raymundo are done simultaneously with the Autoshop Gen. Merchandise”, assembler and electrical connections and uphol- maker of APV, there used to be 60 shops be- Sarao, Amante, Amianan, Lawin, stery. Most of the finished units are now fore. But today, only about 30 shops are still Malagueña, Malaysia-managed Francisco ready for road testing complete with other making and assembling AVP. (By Joel Pabustan Motors, Armak etc.-- these are only some mechanical testing and registration assis- Mallari with Donnie Ray Sinamban, Leonardo Orongan, of the many assemblers of the acknowledged tance. The ingenuity and creativity of these Liezel Naluz, Abigail Soriano, Arwin Soliman, Shigi, Lady, “king of the road” in this country-- the people are reflected in of their craft and Jhem, Glyz, Deo, Arlene Samia, Angela Mangente). jeepney. In Pampanga, as early as the late specialization. From the oldest vehicle type decade of the 70s, there was already a pro- to the most recent model of cars and pick- APALIT-STO.TOMAS: duction of XLT. The long stretch of Mc Arthur ups come the perfect copy of the balangcas Highway in Brgy. Balangcas, Sto.Tomas, jip. A PERFECT MATCH Pampanga has started to crowd on both sides Competitive edge: Neighboring towns Apalit and Sto. with XLT makers/manufacturers. • With regards to design (front), it can Tomas are truly neighborly to each XLT actually stands for “extra light sup- be made through special request depend- other, sharing resources but never in- port”, since this type of vehicle is much ing on the model (customized). As they fre- vading each other’s space. If lighter than the traditionally over decorated quently suggest to potential customers and Capalangan produces the traditional jeepneys. Thus they are much faster and APV buyers, “nung nanung modelung kotsi, paddle-and-anvil made pots, old bar- more spacious. The idea and manufactur- van o saken ing buri yu, gauan miang rio Sapa (now Sto.Niño) has decorative ing of XLT was patented in BIDA, according makanita ing arap na”. The type of XLT front and modern plant pots and jars. Apalit’s to some sources. But it was actually the Ford design is mostly dependent on the available San Vicente and Sampaloc produce fine Motors that launched the first model of XLT, supply of disposed parts of accident-wrecked pukpuk wares (brass made articles) and the Ford Fierra. To avoid problems of piracy cars and vans and not from the much wide- kapalangan (metal blades like pisu, and to protect intellectual property rights, spread Korean imported secondhand cars kampit, sudsud, lape etc…), while the assemblers of this vehicle types changed and vans in the Philippines. Sto.Tomas’ San Vicente and San Matias their unit name from XLT to APV (All Pur- • Less accessorized than the multicol- manufacture karo and kabaung. A pose Vehicle,). This APV acronym was also ored vista of Sarao or sarao-like jeepneys strong connection of suppliers and as- adapted by Suzuki in one of its latest minivan • Multipurpose: pamasada, pambiahi, semblers can also be seen in these model. The pioneers of the industry include pamorma, pampamilia neighboring towns. If Balangcas pro- Orsito “Sitong” Yco (Hayco?), Ernesto • Relatively low prices which range from duces all the modern day models of XLT Ahento, Mando Basilio & Biling Pineda. The 290,000-330,000 pesos; around P 290,000 (or APV) in the Philippines using spare business started in the late 1970’s and the (for ordinary, ualuan or 8 seater) parts coming from wrecked vehicles early 1980’s; but it was in the 1990’s that - P 330,000 (with power window, dosían and the combined expertise of pukpuk the APV industry in Brgy. Balangcas, or 12 seater) method, Capalangan is probably the Sto.Tomas Pampanga blossomed. - additional P30,000 for the Air-condition most famous place in the Philippines The APV Assembly Lateru vs. dollars that supplies original spare parts of The basic tools in a machine shop to as- The town of Sto.Tomas was once known model cars and vans of all high end semble the APV are the press drill, French as Baliuag, while the home barangay of this brands. A joke goes around in grinder, bench clamp, welding machine modern industry stands for the etymologi- Capalangan that residents yell at mo- (acetylene oxygen), compressors, bar/G.I./ cal importance of the place, as balangkas. torists warning them not to leave their stainless cutters, tube and manual benders In Kapampangan, the term balangkas re- new vehicles unattended. Stolen parts to start the major assembly. The raw mate- fers to the framework or design of construc- are often seen displayed in “chop- rials in the construction of the vehicles body tion like putting up the framework of a chop” shops along the village. (JPM) include B.I KC20 (example of motor engine), house. In fact, most of the people of Brgy.

83 DÁSÊ AS A PRODUCT OF CONVIVIALITY OLD FOLKS IN SAN LUIS AND SAN SIMON STILL WEAVE SLEEPING MATS By Joel Pabustan Mallari with Sheila Laxamana

In the warm and humid tropics, vari- in swampy ous cultures have devised ways and means areas, as to make living more bearable, if not com- well as a number of fortable. The Philippines is no exemption palm species, and rattan. and nowhere is this solution as obvious as These materials remain cool in Fray Diego Bergaño in his th in the Filipino use of a variety of materials the heat of the day, are smooth to touch, 18 century Vocabulario dela Lengua for making sleeping mats. and porous enough to let ventilation Pampango en Romance, notes that the Various species of reeds profusely grow through. Throughout the country one en- towns situated at the Candaba Swamp are counters a variety of mat making traditions known for the weaving of ebus mats, as using indigenously grown materials and em- dase. Recent ethnographic survey shows bellishing these creations with highly imagi- that there are a few families from San Luis ANCIENT MAT native designs. From the Badjao/Samals, and San Simon who are still engaged in Tausugs, Maranaos, Tbolis of Highland the dying industry of dase-making. The old In Pampanga, the oldest evidence magdadase (dase weavers) of San Luis still of mat use dates back to the 13th-14th Mindanao, Tagbanuas, and the various people of Samar, Romblon, and the of Cor- recall the old days of this industry and with centuries as seen in the mat impres- teary eyes narrate the tiring but colorful sions found among several metal dillera all have their unique versions of native mats and woven articles like hats. days when almost all town folks of all ages implements associated with early knew this art of weaving. This fine crafts- burial practices. The commonness of sleeping mats through- out the country attest to the artistry and manship of the Kapampangans has always the superb skills required to been associated with the panaun ning accomplish the intricacy evi- kasakitan, days of hard times (like during dent in this woven works of the time of war). As they say, this period art. was then the time when most of the ordi- In a 1940 ethnographic nary folks living around the area of the report done by Ricardo E. Candaba Swamp burned their midnight oils Galang, kupiang ebus or na- and after the day’s toil still found time to tive hats made from the weave a piece of dase. It is in fact the cul- leaves of ebus (Corypha utan ture of “maglame” that bears a deeper Lam. Arecaceae) are report- meaning to their lives as magdadase. Press- edly produced in the towns of ing need to bring in extra earnings for their Arayat, San Luis, San Simon insufficient income and the high demand and Apalit. Folk traditions of the local and neighboring market, they maintain that the tend to find effective ways to work fast and magkukupia (hat makers) be creative. Thus the gathering of several from Sucad, Apalit, once sup- magdadase in one’s sulip (house ground plied the local markets not floor) aiming to finish their individual weav- only of Pampanga but also ing assignments. During this time, the bur- those of Tarlac, Manila, den of working overnight is replenished Baguio, Bataan and Zambales. with the of accompaniment of singing and Dr. Ricardo Galang notes that guitar playing, bugtung-bugtungan and these towns also produced other forms of dalitan of volunteers. And petates (palm mats, this affair does not only end with this oral Kapampangan dase) and amusement but also plays hot with bayones (bayung) In kapangan and gigutan to keep up till the Sto.Domingo, Minalin, turung pamanulauk ning manuk. As they say or kupia making is seasonally “mipapaglame bang dakal alalang dase, Weaving patterns on mats done until this time atin kanta-kanta, pamangan at dungut-

84 dungut king pamaglutu the process is then called bang dakal agauang bulayan, and binule for ev- dase”. In fact there is ery ebus strip. The process an old bugtung (riddle) involves the pulling of about the once common meikid. use of this article, as fol- The batakan (in some lows: “Mig quera cu babo places it is called panabas) ebus, lalam sasa cu me is made from an ordinary tudtud.” Literally, “The wooden bench (similar to the sleeping mat is laid down pangudkud ngungut), except upon the floor (of buri); that it has specially made the roof is of nipa”. In pataram (small metalblades the old days, ordinary usually in a set of 6 pieces). pinaud (native house This special bench is so with nipa thatching) usu- small, that it is a bangkung ally had simple articles kikilikan for it is very light inside it, and dase was and transportable; when- surely one of them. ever there is work to be While another popular done they easily carry it to joke rendered as a song the place of the maglame. was recalled among the Weaving is commonly old magdadase: “Lame- called lalala, while the lame alang magkera binule that is already part of king dase”. In fact, ac- the weaving process is called cording to them, lame- sundu, and so pamisundu- lame actually refers to sundu refers to the intricacy “dakal a gagauang dase of the process being done. kambe ning metung a The biggest dase which is the paritan at dula king usual size available then is radiu”. the so-called ualuan or Dase weaving starts ualuan talampakan with the fine selection (around 8-9 ft by 12 ft), and of ebus leaves. This smallest is apat-a- comes from the specie karangan (about 2-3 ft of Corypha utan (syn. long), while other standard C. elata Roxb, C. sizes include the didosi (12 gebang), which is widely talampakan) and didiés (10 known in Southeast Asia. talampakan). Every size of This palm tree known as dase is determined by the ibus in Bikol, buri and available length of mebule buli among various Ta- which also indicates the age, galog speakers was once growth and seasonal charac- a useful tree not only for teristics of the ebus palm its leaves, but also for supplied. Thus, dase making the cluster of small is better during the kaleldo fruits of about an inch or summer time. Among the in diameter which were favorite designs except for once sold as street food the plain non-dyed pieces offered to school chil- The weaving of dase (ebus mats) among the people of Central Luzon is done which are in demand are dren. Its flower sap was by the entire family, often while keeping watch over the “lamay” or killing the teladama design and also made into tuba, time in the “sulip.” (Photo from H.W. Krieger, Washington, 1942) the siper (zipper) type. The and in Mindanao, they teladama design has a boil the sap of ebus just to make sugar magdadase, every delivery of tulud ebus checkered board design while the siper has called bagkat in Kapampangan and Taga- (young ebus leaves, tiluran refers to every minimal dotted lines with special double- log. Until the 1970s, ebus palms were still single leaf) usually comes sagia (fresh weave finish on all margins which projects abundant in Central Luzon especially in and green). From this, they have to be sundried durability. Among the colors most requested around the Candaba Swamp up to the north- or mebilad at melanat, before the process by dase buyers is malutu (red dyed), dilo west portion of Mt. Arayat. Indeed, the of individual tistisan and lapakan which is and berdi (dyed yellow and green respec- people from Ilug Maisac (in Tarlac) and Mago the removing of tingting (midrib). The roll- tively). The violet or red-violet and blue (spelled as Magao, a village located be- ing of the fibers comes next by making are rarely requested. The dyeing materi- tween Concepcion and Nueva Ecija) sup- loops/circles termed as eikid (or aikid), and als include the commercial food coloring plied the magdadase of San Luis and eikiran (or aikiran) for the process, while mixtures which they call alelina or magkukupia of Apalit until the early 80s and the processed loops is then called alelinang butil-butil. The process of col- these were delivered by bancas via the balangkat. Every balangkat will be stripped oring takes place immediately among se- Pampanga River. As it was recounted by the (locally called as gisian) using a batakan; lected ebus before weaving.

85 PAMPANGA’S LOST ART OF WEAVING CLOTH WORD ENTRIES FROM BERGAÑO’S 1732 DICTIONARY SUGGEST A THRIVING COTTON CULTURE IN THE KAPAMPANGAN REGION By Joel Pabustan Mallari

In an archaeological survey in Candaba spinning: four threads makes a cauing, four sometime in 2002, several artifacts were cauings make a cabid; ten cabids make one recovered, evidencing an ancient rich cul- tul, which is one skein; ture which includes weaving. This is sup- LAMBAL, the thread for sewing silk, or ported by the presence of earthen spindle cotton. Active verb and its constructions, whorls associated to the so-called “Metal to make or cut a length of thread from Age” (500 BC AD 500) of the Philippines. the spool. P. 3. the spool, or skein. In an ordinance issued in Manila during the Calambalan, one length of thread for the time of Gómez Pérez Dasmariñas dated 9th needle. Pa, palambal, to provide a needle of April 1591, the so-called Indians (refer- with a length of thread. P. 1. the thread. ring to the native inhabitants of the Phil- P. 3. that which is to be sewn with such a ippines) were forbidden from wearing Chi- thread, like a baro, dress; nese stuff, include silk. William Henry Scott LULUN, to roll up, like the reed-mat / writes that all Kapampangan at this time palm-mat beddings. P. 1. that which is already wore cotton – “chiefs, timaguas rolled up, Lilun. Maca, presently rolled and slaves without distinction of rank.” He up…Lulunán, nominative, said in a wider further comments that “though it was not sense, of the freshness, or tenderness of grown locally; it was acquired raw from the labong, the stick around which they roll provinces from the south in exchange for up /twine the raw cotton; rice and gold.” Indeed these PUYUD, a bundle of cotton on the dis- Kapampangans were not only rich with taff, ready for weaving, or spinning; these resources but also wove cotton fab- SALAB, to bring near to the flames, to ric, John Larkin notes in his book “The Damian Domingo painting of typical dry, or to singe, or scorch, like pork; or to Pampangans”. This old tradition of cotton Kapampagnan attire, most likely made give a bent shape to a piece of bamboo; or weaving was also recorded by Fray Diego of cotton died in indigo to apply the flame to a bundle of flax or Bergano in 1732 with the following entries: hemp/cotton…; BULAC, a bush and the fruit it bears, produce of the bush, bulac susuldan or SULAD, the fashion, the finish, the are both called bulac, cotton. But with the pagpaguin. Other forms: Manimulac, the spun; to spin; the spun, or on behalf of distinction, there is a bigger tree, and its cloth made of cotton becomes threadbare whom. Sildan, or, silaran, or, sinulad, produce can be used only for mattresses for being worn out; maguinbulac, becomes (that is what they call the cotton that is and cushions and it is called bulac castila very very white…; spun into thread…; (kapok?) So it is customary to add to the CABID, a certain measure of cotton for TUBAL, to soak the raw cotton before dyeing; TUL, ten cabigs equal one Tul, a mea- THE DEVIL sure of raw cotton bales. If you want more, inquire from a woman spinner, spinster; WEARS PATIS These entries indicate a complex indus- try which is not limited to household con- Kapampangans’ excellence in fashion de- sumption but for a wider market. Blue-dyed signing was propeled by fashion schools that cotton was seen common to Kapampangans mushroomed all over Pampanga before Worl as explained in the entry “sapat”, which War II, notably the Salgado School of Fashion Fr. Bergano wrote to “mean steeping, or and the Angeles Fashion School as well as by soaking raw cotton to dye it blue / in blue individuals whose genius has catapulted them dye”. This color might have been a native to the fashion world’s stratosphere: R.T. favorite as what was documented in Jean Paras, Josefina Gonzales, Florencia Salgado Mallat’s work which was one of the rarest of Paloma, Gang Hizon Gomez (a.k.a. Dom Mar- all 19th century French publications contain- tin de Jesus, OSB), Patis Pamintuan Tesoro ing Philippine illustrated material. He fur- and Marta Teoleco, whose baptismal gowns, ther noted that “in Pampanga they make First Communion dresses, embroidered un- cloths of all kinds, pots of baked clay which dergarments and handkerchiefs were prized are taken to Manila and in the environs of for their fine craftsmanship. the bay…”

86 MÁNAYI: Sastrerias y Modistas tan buen en Pampanga TAILORS AND DRESSMAKERS ONCE MADE A KILLING IN A PROVINCE WHERE LOOKS AND PHYSICAL APPEARANCE OUTWEIGHED EVERYTHING ELSE By Lord Francis Musni Very few of us today appreciate the lor and fashion shops in Makati and proliferation of couture fashion defined labor and creativity that goes with produc- Mandaluyong, the Capampangan sewer is and basically dominated by members of the ing every part of one’s apparel. In this age known for his craft. One should not be gay community. of off-the-shelf clothes, consumers are oblivious also of the throngs of It must have been the Capampangan’s treated with a variety of styles and cuts. Capampangan manahis most sought after penchant for fine lifestyle, which readily More brands are coming in from abroad, in export zones, industrial parks and ex- manifests itself in the richness of its food including designer labels. To be chic these port processing firms involved in the gar- and the luxury of his wardrobe. His fine days is to sport urban fashion that is in- ment business. Many manahis helped pro- taste for clothing and accessories (and his stant, generic and commonly available in pel the economy in the last few decades tendency to exaggerate, mamaratut) may the modern agoras we call malls. There is by carving a special niche in the Philippine have in the process buttressed common little personal touch as what sells is the industry. The Philippine garment business notions of his character such as being impression made by billboards and multi- became a booming enterprise especially magarbu (lavish) and mayabang (boastful). million campaign ads strewn around town. indulged into by Capampangans, either as If one were to write a quizzer on how to But the metropolis still abounds with managers, designers or frontline workers. easily spot a Capampangan in a motley tailor shops and modiste parlors, which are The obstinate tailoring and modista shops crowd, there is surely no sweat in identi- most likely owned, operated, or at least just refuse to die. While most of the tai- fying a Capampangan. The Capampangan served by the Capampangan manahi. For lors and modistes have closed shop, a small male goes about in his crisply ironed shirt years, the manahi’s repute has followed few have managed to stay in business rely- (at times even almirulado, heavily him everywhere. From the old talleres in ing mostly on school, office and military starched) of fine fabric and accessories. Avenida Rizal and Escolta to high-end tai- uniforms. The most recent threat is the The female on the other hand would go

87 1. PAMANGUANG SUCAD preferences. A meticulous maniucad who Pamanguang sucad, literally means “to may not be necessarily be the cutter, oc- MÁNAYI JARGON take one’s measurement” Measurements casionally asks his customer how he feels 1. Sucad – size; fit, it may refer to ac- are carefully taken with the aid of a medida about the adjustment, whether it is too tual body measurements, or standard (tape measure, originally made of cloth, tight or too loose. He never readily assumes measurements or ready-to-wear ap- but recently crude plastic with inches one which measure should fit well because the parel. Thus, masanting a sucad, means side and centimeters on the other. A medida customer is in a better position to know good or snug fit. is only 60 inches long.) The maniucad (one which is snug. But he is all more careful 2.”alawans” - (ease) is the added who takes the measurements) places the when the customer insists on a rather un- inches put into a pattern so the figure tape on the vital portions, which need to usual adjustment as to render the entire has comfort and the garment has style. be measured. When measuring pants, the measurement inconsistent. The maniucad 3. Manauang- “looks silly”; ill-fitting maniucad takes the measurements and convinces the customer to give off a little 4. Masicup – tight-fitting writes them down on a notebook or a sheet to fit all the other measures together. An 5. Malualas – too loose fitting of paper, or if he is de calibre , he has an experienced maniucad and manahi knows 6. Bitin – hangging; lacking in length assistant who takes them down for him. For how to make the adjustments (daya) to or drop pants, vital measurements include: length make a piece of apparel more attractive. 7. Venta - commonly known as “RTW” (caba), waistline (hawakan/tinauac), hips While waiting for his turn to have his or or ready-to-wear apparel; cut and (papaluan), knee (intud), bottom her measurements taken, a client is offered sewn according to garment industry (laylayan), riser (pundilla), and round mea- a box of catalogues from which he can standards and “ready-to-wear.” RTW is surement (cabilugan.) Of all these, the tak- choose the latest styles. Sometimes, some usually resorted to when there is very ing of the measurement of the pundilla clients some to the shop with the latest little time to have a piece of apparel and cabilugan is most vital. The pundilla magazine in tow, with instructions to the custom-made; and cabilugan are measured depending on tailor or modiste to copy Jacqueline 8. Sudia – an adjsuted cut on the ex- the orientation of a client’s waistline, low Kennedy’s latest skirt cut, Audrey Hepburn’s treme lower crotch waist clients have shorter pundilla (mababa collar line in Breakfast at Tiffany’s or 9. Lagad – the frequency of the run of tiru) and high-waist clients have longer Fernando Poe Jr.’s low –waist cut denims, stitches pundilla (matas tiru). or the latest hippie umbell cut jeans. 10. Malinlin- fibers gone loose The measurement should be carefully 2. PAMAMADRUN 11. Piquete – trim/cut of a corner or taken. The crotch part or tiru, is the dis- The carefully taken measurements are joint for easy folding tance from the lower tip of the crotch and next plotted on a padrun. With the aid of 12. Caltas – literally to deduct; to cut- the tip of the waistline. A pair of pants pattern-making tools (pamadrun). off slightly to allow easy handling with macuiad a tiru, would cause the pants Pamamadrun is the master cutter’s turf. 13. Bulsang Busbusan –a type of pocket to become low-waisted, on the contrary Pamadrun is a critical step anterior to the assemblage consisting of a cut along macaba tiru means pants which literally cutting of the fabric. The measurements the back panel sink the lower torso, thus rendering the taken form the client are meticulously plot- 14. Bulsang Cambal Tubig – similar to waistline at a point higher than it should ted on the pamadrun (brown paper which Busbusan but made with two cuts and be. In both instances, a pair of pants would is a cross between manila paper and wax fold on the rim have matsura talacad (ill-fitting pants). A paper, or box board material which is a bit 15. Types of Pakat Bulsa a) mete pantalung matsura talacad is not only un- thicker). The cutter has through years of miñuluc; b) round; box; e)Norfolk aesthetic but also unhealthy as it may af- experience mastered the art of sketching 16. Pantalun Simple/disente – linen fect one’s pos- or any pants made with soft-fabric ture. A fastidi- ous maniucad will go further by for an eye-catching dress, one which would asking the male surely reap attention more easily, and be- customer where come an instant conversation piece for ki- his cargada is. bitzers, dying to be like her. Both sexes The cargada boost their ego after being reassured by (Spanish false stares and whispers as they pass by. cognate in local Manahi (root word “tahi” to sew) usage refers to means one who sews; It is a generic term baggage) is the for both males and females engaged in the orientation of preparation and sewing of sewing clothes the male repro- to earn their keep. To be more particular ductive organ, however, the male manahi, is a sastre, and i.e’; as to which the lady sewer is called a modista or position it lies or custurera (couturier). The manahi enjoys rests, left or wide renown for the fine quality of his work right. Rizal is said and his jovial mood which makes his shop to have had a left a haven for customers, as he knows how to cargada. entertain and please them. Allowance The different steps in the work of the and adjustments manahi: are made to suit the customer’s

88 DRESSMAKER’S TOOLS 1. Gunting – scissors and/or shears 2. Panastas- a handy wire rod with a hook on one end; a special picking tool which is used to remove seams or undo bad stitches seam ripper to remove stitches one at a time, and to pick out loose threads caught in stitching. 2.Pananda – marking tool; an awl, a pencil, or chalk 3. Giritil- a special disk, akin to a cookie cutter, to make guide impressions on fabric 4. Sinulad – thread, which usually comes in a variety of colors and thickness (ticket number); the thicker the fabric, the bigger the ticket. 5. Aspiling Carayum – setting pins 6. Pamatan- paper weights, used to keep the fabric in place while tracing and cutting the outline 7. Carayum Gamat/ Maquina – needle 8. Didal – thimble; used to push the needle without getting one’s fingers. Made of metal, rubber, leather or plastic, this small,protective cover slips over the index or middle finger. When hand sewing or quilting, a thimble protects the fingertip from pin pricks and is used to push the needle through multiple layers of fabric. the lines and con- (pocket cover), when the selvages are closed, the customer tours of the pat- cacha (lining) bulsa is informed of the fitting session . Each fold tern with the aid of relo (watch pocket) and seam are carefully tucked, laid to- a ruler (the cinturera (belt gether with the aid of tailor pins. The Capampangan loop), platina manahi carefully marks the points were most often mispro- (waistband), zipper adjustments need to be made. Lines and nounce it as or buttons. It is im- points of adjustment need to be made. “luler”),an escuala portant that all the Again the Dixxon, plays a crucial part. ( a square ruler), accessories are pre- 6. PAMANARI and a curva (a pared and set aside Pamanari as the term suggests (yari- French curve). The especially when the ”to finish”) refer to the finishing touches. cutter follows a fabric to be used is The seams (laylayan) are neatly closed. prescribed and ac- pre-cut to standard Button holes (ojales) are sewn and buttons, cepted standard of sizes. It is easier to clasps, snaps are pressed. A finish is never distances between make adjustments complete without the pamamata or perma lines, margins to arrive at proper contours, (remedio) when there are still plenty of press work. The piece of clothing is pressed but he has to make the necessary adjust- scraps, and when indeed the tailor runs heavily with a perma-press machine to ments to suit the measurements and pref- short of the fabric material, he resorts to leave--as the term suggests-permanent erences of his client (daya-literally to de- seaming together scraps (sudia). Sudia , as creases, folds, and lines on the apparel. ceive the eye). A good cutter through years Bergaño however, suggests is “the pointed The permanent creases are designed to develops a sense of good taste without hav- end of the ancient tunic worn by men.” prominently show and make the apparel ing to bow to all of his client’s preferences. 4. PAMANAHI stand out. Maong and cotton pants are The pattern is cut from the pamadrun and The actual sewing process involves a never perma-pressed. later traced over the fabric. series of steps: The following are curious commercial 3. PAMANABAS a) Pamanareglu – The preparation of placements in the 1933 Pampango Directory: The pattern is carefully set and fixed pre-cut portions, panels parts, and acces- One reads: “Cunanan’s Tailoring Cre- over the fabric, for several orders, the fab- sories, such as zippers, buttons, thread, ated to Give You FINE STYLES at the LEAST rics carefully set over each other (chapa), snaps, and even labels. Pamanareglu may PRICE.” The tailor shop has this address: and secured with pamatan (heavy objects also include running the pieces of cut fab- “only a few steps from the market to the which will keep the fabrics in place). With ric on a zigzag machine to seal the fibers station.” the aid of a Dixxon (popular brand of a of the fabric so as to avoid the fibers from Noted dressmaker R.T. Paras who owns tailor’s chalk, which usually comes in white, running loose. (malinlin) the household name “R.T. Paras” is a orange or yellow) the padrun is carefully b) Pamamuo – All the cut parts are modista with address at 859 Rizal Avenue, traced over the fabrics. The fabric is later assembled together beginning with the Manila. cut to the desired contours of the pattern, pockets, attaching the zipper. “Sastreria de Julian Yusi” is another with a gunting panabas (cutting shears) : c) Pamanyara properly refers to clos- famous tailor shop in Masantol. four panels, 2 front (tabas arap) and 2 back ing together all the seams to complete the A certain “G.T. Santos Modern Tailor- (tabas gulut). The rest of the parts or ac- apparel. ing” found at 2318 Rizal Avenue, Manila cessories of the apparel are also cut: sulapa 5. “PITING” AND PAMIAYUS boasts of “clothing perfection. All latest (double fly), aleta (single fly) madrina When the clothes are almost ready, ie., styles from Europe and America.”

89 ZARZUELA: The Kapampangan Broadway musical WITH LITERALLY HUNDREDS OF ZARZUELAS BEING A prompter in action during one of the pre- war zarzuelas in Pampanga (Source: PRODUCED LEFT AND RIGHT IN THE EARLY 1900S, Sunday Times Magazine) PAMPANGA APPROXIMATED ELIZABETHAN ENGLAND IN TERMS OF VOLUME AND QUALITY OF LITERARY OUTPUT By Robby Tantingco WHY ZARZUELA

Zarzuela is an imported art form from Kapampangan. Ing Managpe was a break- IS VANISHING Spain. The first zarzuela staged in the Phil- through not only because it discarded the · disappearance of zarzuela librettos ippines was Jugar con Guego, brought here use of a foreign language, but also because and music scores, due to lahar, war and by a visiting Spanish theatre group in 1878. it featured a simple love story in a domes- negligence Two years later, in 1880, the first zarzuela tic setting. Most plays and musicals at the · difficulty of understanding and pro- troupe composed of Filipino actors and ac- time were mere excuses for nationalistic nouncing Kapampangan words tresses was organized by Spaniards in Ma- and revolutionary propaganda. The · boring subject matter, trite plot nila; it still performed Spanish zarzuelas. zarzuela also featured original music by a · preference of modern audiences for The same year, Jose Rizal, then a student Bacolor native, Amado Gutierrez David, beauty pageants and amateur singing and president of Ateneo de Manila’s brother of Supreme Court Justice Jose contests during town fiestas Academia de Literatura Castellana, wrote Gutierrez David. Ing Managpe was first an original zarzuela, Junto al Pasig; still, staged at the Jovens’ Teatro Sabina on Sep- it was in the Spanish language. In 1893, El tember 13, 1900 nies mushroomed all over the province, e.g. Diablo Mundo the first zarzuela to use mu- The success of Ing Managpe inspired Compania Sabina and Compania Dramatica sic composed by a native, Jose Estrella, Pabalan Byron and other dramatists and of Bacolor, Compania Trining of Guagua, was staged at the Zorilla Theatre in Ma- poets to write more original Kapampangan Compania Ocampo and Compania Paz of nila; again, it was in Spanish. zarzuelas for the entertainment of their Candaba, Compania Reyes of San It was a dramatist from Bacolor, kabalen. They became so prolific that their Fernando, Compania Lubeña of Lubao, Mariano Proceso Pabalan Byron, who time came to be known as the Golden Age Compania Trinidad of Macabebe, etc. blazed the trail by writing the country’s of Kapampangan Literature and Bacolor as The decline of the zarzuela can be at- first zarzuela using a native language, the Athens of Pampanga. Theatre compa-

90 Isaac C. Gomez’ Horas ning Mamulang (The Fool’s Hour) performed by Compania Ocampo, a traveling zarzuela troupe from Candaba in the 1940s and 50s. Right, stage actress Eufrocinia de la Peña in a “mad scene.” De la Peña is still alive today, writing Kapampangan poetry (Source: Sunday Times Magazine) tributed to the following developments: (a) cessitated curfews; (d) the exodus of the introduction of Hollywood motion pic- Kapampangan zarzuelistas to Manila where Zapanta Manlapaz wrote in her book tures in 1912, followed by the production they switched to Tagalog radio dramas; (e) Kapampangan Literature, the output has of Tagalog movies (produced in Manila and the takeover of the zarzuela by proletar- largely been mediocre. In 1975, Alang Dios! sometimes in the provinces); thus, stage ian writers, who wrote for the money, not was staged at the Cultural center of the theatres were replaced by, or converted for art (as in the early days when schooled Philippines (CCP), followed by several other into, movie houses; (b) politicians’ spon- artists collaborated with wealthy patrons Kapampangan plays in the same venue the sorship of free vaudevilles and amateur to produce grand productions). following year. Today, only schools and uni- singing contests held in poblacions; at some True, there were resurgences before versities make an effort to revive the point zarzuela tickets were being sold on and after the war, thanks to the efforts of Kapampangan zarzuela, the latest of which credit just to attract viewers, but even charismatic zarzuelistas like Diosdado was the Holy Angel University production those remained unpaid; (c) World War II and Macapagal and Rogelio de la Rosa of Lubao of Ing Managpe in 2006. the social unrest that followed, which ne- and Jose Gallardo of Candaba, but, as Edna

all above 40 years of age, appeared mine. I was then 18 years ZARZUELA MEMORIES old. The youngest among them. The music composers’ names A ZARZUELISTA FROM BACOLOR WHO LATER BECAME which appeared there were Pablo Palma, Jose Prado and Amado Gutierrez, my brother. We deemed this event as a great honor A JUSTICE OF THE SUPREME COURT RECALLS THE to the eldest and youngest brothers (Amado and I) and to the GOLDEN AGE OF KAPAMPANGAN LITERATURE family as a whole.”

“In “Amado also composed ballads, danzas and kundimans. One 1909, when of his compositions, which became very famous, was Danza Belang, the Teatro which he dedicated to a beautiful girl in the town of Sto. Tomas, Sabina was Pampanga, named Gabriela Guiao. He also supplied its lyrics in recon- Pampango…. This kundiman is being sung until now on the radio structed, and on television programs. Its title has been changed to Palsimi remodeled and the lyrics into Tagalog, by someone who appropriated it with- and inaugu- out the consent or knowledge of its composer.” rated anew, a “The rehearsals of the zarzuelas were held in our house…. permanent So, our house was considered as the birthplace of the Pampango commemo- zarzuelas. The gala performance was rendered in the down- rative and town theatre called Teatro Sabina, whose owner was a spinster, Justice Jose Gutierrez David; right photo shows a decorative Da Sabina (da is abbreviated dara, aunt—ed.), sister of Ceferino young Jose with friend Zoilo Hilario (with sword) board was Joven. Hundreds of zarzuelas were produced afterward. Many when they both performed in a zarzuela in Bacolor placed became hits and very popular like Alang Dios, Ing Sultana, above the Mascota, Sigalut, etc. The era of zarzuela showing flourished frontage of the stage, on the proscenium arch. It contained the for almost three decades. It was supported by the Joven family. names of Pampango dramatists and composers. With the names It ended when the said family was no more in a condition to of the old dramatists—Pabalan, Soto, Galura, Gozun—who were continue supporting it due to financial difficulties.”

91 DID YOU KNOW? Some Notable Kapampangan · Pampanga was one of first provinces to have theatre companies with resident Zarzuelas and Zarzuelistas playwrights, directors and actors

· The rival theatre companies in Pampanga at the start of the 1900s were Teatro Sabina of Bacolor, run by Juan Crisostomo Soto, Felix Galura and Mariano Proceso Pabalan Byron, and Teatro Trining of Guagua, run by Aurelio and Jacinto Tolentino; between the two companies, it was Teatro Sabina that was better funded because it was owned by Ceferino Joven, then Governor of Pampanga at the time when Bacolor was still the capital of the province

· Zarzuela actors were paid between P4 and P15 per show; the playwright, P100 per season (plus royalties); cos- tumes were provided by the actors them- selves and they performed gratis during town fiestas;

· Entrance fees: P2 for palco proscenio 60 ctvs-P1 for orchestra seats 20 ctvs for entrada general Rates were usually lower for repeat performances (Clockwise from above) Juan Crisostomo Soto · Zarzuelas were usually written and re- of Bacolor (standing) with Isidro Joven; Aurelio hearsed during the rainy months of June- Tolentino of Guagua and Monico Mercado of October, and performed during the dry Sasmuan. months of November-May, with interrup- tion in March-April to give way to the Alang Dios! Juan Crisostomo Soto Lenten cenaculo Paninap Nang Don Roque Juan Crisóstomo Soto Apat Ya Ing Junio Mariano Proceso Pabalan Byron · When the zarzuela became popular, Ing Magparigaldigal Mariano Proceso Pabalan Byron many dramatists produced instant Ing Cabiguan Felix Galura zarzuelas by simply injecting musical Ing Mora Felix Galura numbers in their plays Ing Singsing a Bacal Juan Crisóstomo Soto and Felix Galura Gatbiala Felino Simpao Ing Mangaibugan Jacinto Tolentino During their heyday in the American colo- · Damayan Aurelio Tolentino nial years, zarzuela companies toured towns Iraya o Sultan ning Tondo Monico Mercado in Pampanga, Tarlac and even Manila La Independencia Jose Gutierrez David Datu Mandil Edilberto Joven 1930S MOVIE OUTFIT Sintang Dalise Zoilo Hilario Reyna ning Malasya Zoilo Hilario IN PAMPANGA Ing Mapanaco Sergio Navarro With the advent of motion picture, Sampagang Asahar Isaac Gomez Kapampangans jumped on the band- Dayang Azul Roman Reyes wagon. In Angeles, a group of business- Capirasong Ulas Restituto Guinto men attempted to put up a movie pro- Bayung Jerusalem Urbano Macapagal duction outfit called Novelty Films in Crucifijong Pilak Jose Gallardo 1934. Its incorporators were: Alfonso de Maligayang Infierno Victor Lumanug Leon, Placido de Guzman, Jose Sanchez, Panulung Lasun Vedasto Ocampo Rafael Lazatin, Andres Guevarra, Jose Tagumpe ning Calulu Prudencio Tulio Ganzon and Joaquin de Guzman. The Singsing ning Catutuan Ariston Lacsina venture did not prosper.

92 In 1915, a Kapampangan zarzuela based on Rizal’s Noli Me Tangere was staged in Mabalacat, on a makeshift platform near the San Felipe bridge. Alex Castro, author of Scenes from a Bordertown and Other Views, thinks that the script was probably based on Kapampangan translation of Rizal’s novel done by Juan Elias de Guzman of Mabalacat, shortly after the hero’s execution. It was directed by J.I. Mendoza with Gerardo Castro as Crisostomo Ibarra. (Photo by Daniel Henson Dizon)

The zarzuela’s decline gave way to other forms of stage presentations, like the 1951 production of a Kapampangan passion play entitled Pasion y Muerte, produced by Mabalacat resident Gonzalo Tantingco and directed by Sebastian de la Cruz. Its cast and crew were all from the town of Mabalacat. (Photo by Dr. Inez Cuyugan Quizon-David)

93 KURIRKURIRUU ONCE UPON A TIME, KAPAMPANGAN VERSE NOVELS SOLD LIKE HARRY POTTER BOOKS

Amazing but true: once upon a time, Kapampangans read verse novels the way we today read Harry Potter novels. Usu- ally after Mass, they trooped to newsstands, where these books were sold (the way il- lustrated comics and magazines are sold to- day), bought and took them home. The verse novels were called kuriru, a corrup- tion of the Spanish corrido and the Tagalog korido, but unlike them, the kuriru was not sung or danced, although earlier genera- tions of kuriru readers may have chanted them like the pasyon. In fact, the kuriru were mostly translations of medieval Span- ish metrical romances, which had magic and adventure and other elements that Metrical romances later gave way to verse novel such as Roman Leoncio’s guaranteed readership. Readership was so translation of Huseng Batute’s Gloria high before and after World War II that printing presses in Pampanga and Manila KURIRU NOTES were churning out kuriru by tens of thou- that published Kapampangan kuriru in- sands. Kapampangans were so addicted to • cheap editions of kuriru were clude Imprenta de Quiapo, Imprenta these fantastical tales that an alarmed Felix priced as low as 25 centavos per copy Galura published Ing Cabiguan, a long nar- Libraria y Papeleria de Juan Martinez; • they became so popular that rative poem that satirized the absurd plots Esteban Tipografico Compania; Modesto they were sold alongside novena book- of the kuriru and the kumedya. Ing Lanuza Imprenter lets and other devotional materials dur- Cabiguan used the same 12-syllable qua- • The leading printing press in ing town fiestas train of the verse forms he was criticizing Pampanga that published kuriru was the but replaced the fantastic plot with a real- • Manila-based printing presses press of Cornelio Pabalan Byron in Bacolor istic one. FREE VERSE AND LYRIC POETRY YOUNG POETS PREFER FREE VERSE, WHILE OLD POETS STICK TO THE 16-SYLLABLE, 6-STANZA GALLARDO-STYLE LYRIC POETRY Kapampangans used to recite poetry at the drop of a hat. The language is musical and lends itself well to poetry, contrary to what Europeans in the 19th century said about Kapampangan being a coarse language and could never be used as a medium for the exalted art form of the zarzuela. Thus, they recited poetry when they narrated a story (kuriru), when they prayed (pasyon), and even when they argued and debated (crissotan). According to Edna Zapanta Manlapaz, in Kapampangan kawatasan (po- etry), meter (sukad) was based on the number of syllables per line (talatag), the most frequently used of which were 6, 8, 12 and 16 syllables, arranged in a variety of stanza forms, except for lyric poetry (the most popular and enduring kind of poetry), whose meter was 16 syllables per line arranged in six (6) stanzas, popularized by Jose Gallardo. Today, most if not all of the surviving poets in Pampanga and Tarlac have adopted the Gallardo style, claiming it is the easiest to recite. However, the younger set prefers free verse. Examples: 16 SYLLABLES, SIX STANZAS FREE VERSE

Lupit na ning Pinatubu, karing pusu minie lumbe, Ika at ya, ketang suldit a ita— Minie takut, sakit, danup, kabiguan at tagulele; Gilutan ing milabas, Dapot babo niting sabla busal ning bie sunde-sape Pigtaksilan ing nanu mang pamanimbang; Tetagan ding Kapampangan, tiningkad pa at metibe; (At kabud mibuklat ing panimanman—) Madiwa rang pamagbangun iti masiag yang patune Sabian mu na, makananung King libutad ning dalumdum, atin sunlag a tagumpe! Keng mumunang uma Melino ngan ing kabaldugan? Francisco Guinto Tec Sanchez Tolosa

94 CRISSOTAN KAPAMPANGANS WERE SO AT HOME WITH POETRY THAT THEY EVEN DEBATED IN VERSE By Robby Tantingco

Two years after the first balagtasan was A variation of the crissotan is the held 1n 1924, Kapampangans came up with tolentinuan, after Aurelio Tolentino, which their own version of the argumentative features three debaters, five rounds with verse, calling it crissotan, in honor of Juan three stanzas each. Crisostomo Soto. Usually held in the plaza The crissotan were popular even until during town fiestas, this highly entertain- after World War II, when they were regu- ing debate pitted two speakers who gave larly broadcast over the radio. The last the audience a sense of extemporaneity but major proponent was Jose Gallardo. had actually been given the topic and pre- pared their poetic arguments days in ad- • The term crissotan was coined by vance. Crissotan is actually a well-re- poet Amado Yuzon, founder of the Aguman hearsed show, which begins as a speech by Crissot. one speaker on stage, who seems surprised when suddenly someone from the audience • The first crissotan ever was held stands up to challenge him to a debate. in a private residence in Sta. Cruz, Manila. The speaker on stage of course accepts the The two debaters were Lino Dizon and challenge and invites the challenger to join Nicasio Dungo; the moderator was Yuzon him on stage. A moderator appears, takes • Yuzon was the Ari ning Crissotan his place between the debaters and deliv- (Crissotan King) from 1930 until his death ers his own opening speech, followed by in 1979. When he won the title in 1930, the debaters each reciting his dedication the topic was Insanu ing Lacuas Banal: Ing of his performance to a muse, whom he Sinta king Balen, Lugud king Indu, o Sinta begs for inspiration. The muse responds king Dalaga? It was actually a tolentinuan by giving the debater a rose which he wears (three-way debate), with Yuzon defending throughout the crissotan. love for indu, Silvestre Punsalan love for The debate proper consists of eight (8) dalaga, and Roman Reyes love for balen. rounds; each round with two (2) stanzas, Held in San Fernando, this debate was mod- each stanza composed of eight (8) rhymed erated by Justice Eduardo Gutierrez lines, each line with 12 or 16 syllables. At David, and was judged by a panel composed the end of the debate, the winner is cho- of Edilberto Joven, Conrado Gwekoh and sen on the basis of substance and delivery, Modesto Joaquin. either by a panel of judges composed of (Source: Kapampangan Literature: A three poets, or by the audience through Historical Survey and Anthology by Edna applause, or both. Zapanta Manlapaz)

Jose Gallardo performed by gas lamp during town fiestas

95 Format of the Crissotan

FIRST SPEAKER delivers a soliloquy on stage SECOND SPEAKER rises from the audience to challenge First Speaker

FIRST SPEAKER invites Second Speaker to join him on stage SECOND SPEAKER joins First Speaker on stage

LAKANDIWA (Moderator) delivers introduction on debate topic

FIRST SPEAKER dedicates his performance to his Muse SECOND SPEAKER dedicates his performance to his Muse

MUSE rewards the First Speaker with a Flower; MUSE rewards the Second Speaker with a flower; First Speaker wears it Second Speaker wears it

FIRST DURUT (ROUND):

FIRST SPEAKER delivers a two-stanza argumentation SECOND SPEAKER delivers a one-stanza refutation, followed by a second stanza of new argument

SECOND DURUT – SEVENTH DURUT:

FIRST SPEAKER gives a one-stanza refutation SECOND SPEAKER responds with a one-stanza refutation and and a one-stanza new argument another stanza of new argument

EIGHTH DURUT: SECOND SPEAKER delivers a two-stanza summation FIRST SPEAKER gives a one-stanza refutation and final stanza of summation

Sample Crissotan titles by JOSE GALLARDO

Kenu la Lalung Agad Mabiasa deting Anac a magaral, qng Isanu ing Migit Mayap, ing Ketwan o ing Kayanakan? Mabagsik a Talaturo, o qng Maganaca? Sukat ya o E Sukat Rira ling Diborsyu keti Pilipinas? Nung Maquisawa ya ing Metung a Lalaki, isanu caya ing Pilinan na, ing Mabanding Mansura, o ing Malagung alang Cualta? Ninu ing Migit Masuyu qng Balen, ing Sundalo o ing Ortelanu?

Ninu ing Lalung E Mayap Kasiping Bale, Ing Sismosa o Ing Sukat la o E Sukat Makialam ping Pengari king Pamakipalsinta Mapamiasa? ning Anak da?

Ninu ing Lalung E Mayap, Ing Mataco o Ing Mapanaco? Isanu ing Mas E Mayap a Bisyu, ing Sugarol o ing Lasenggu?

Ninu Dapat Parsalanan qng Pangapakaroc na Kayasalan ning Nung Bisa kang Maging Maligaya king Pamakyasawa, ninu ing Penganak, Ing Pengare o Ing Penganac? Pilinan mung Pakasalan, ing Malagung Matamad, o itang Matsurang Masipag? Kaninu ya Lalung Macasiguru Kaligtasan a Bie ing Tau, qng Saken a Mabiles, o qng Makupad? Insanu ing Mas Matimbang at karampatang Ibie king Metung a Mikasala, Patawad o Parusa? Isanu ing Maigit Maulaga at Masuyu qng balen, ing Pluma o ing Sandata? Sukat Kaya o E Sukat Gawan Legal ing Sugalan?

Isanu ing Maigit Mayap, ing Mayna o ing Masikan? King Pamakyasawa, Ninu ing Migit Maligaya, ing Mikasal king Palsinta na E Naman Malsinta Kaya, o Itang Mikasal king E Nung Mikawani la ring Miasawang atin Metung a Anak, Kenu ya Naman Palsintan a Malsinta Naman Kaya? Sukat Manatili ing Karelang Anak, qng Babae o qng Lalake? Insanu ing Migit Maulaga, ing Ginto o ing Bakal? Isanu ing E Mas Mayap, ing Ugaling Saligoso o ing Ugaling Dungu?

96 NOT-QUITE-DEAD POETS SOCIETY HOW TO BECOME POETA LAUREADO, ARI NING CRISSOTAN AND ARI NING PARNASO By Robby Tantingco and Francisco Guintu why almost every living old poet in Pampanga today is a poeta laureado. The first ever poeta laureado in Pampanga was Amado Yuzon, who won the first-ever ligligan kawatasan (poetry con- test) in 1927 held in Magalang. His poem was entitled Bayung Jerusalem ning Cabayanian. Jose Gallardo of Candaba became a poet laureate in 1950 in a con- test held in Sto. Cristo, Guagua, for his poem Ing Pamana. There were of course many other poets before him who deserved the title, but since one could only be de- clared a poeta laureado after winning a Amado Yuzon Jose Gallardo Vedasto Ocampo ligligan, he was the first official poeta laureado. Kapampangan poets today are mostly Magalang. But then someone will step for- Sometimes, in the absence of a ligligan old and grey, but they carry on their head ward and claim to be the Ari ning Crissotan, after a long long time, poets decide among the dignity of long-ago glory. This is sym- and you begin to scratch your head and ask themselves to declare a poeta laureado by bolized by the gold crown of laurel leaves, them to explain the difference between acclamation. which used to be the most prized award a these honorific titles. An Ari ning Crissotan (King of Crissotan) poet could get, but today mere museum A Poeta Laureado is a poet who wins a is the winner of a crissotan (verbal joust) pieces and oddities from a bygone era. ligligan (contest) sponsored by a fiesta com- contest sponsored by a legitimate organi- Once upon a time, there was a poet in mittee or a school. The contest is written, zation, in which he beats the incumbent every Kapampangan household, who re- not oral, i.e., the judges declare the best Ari ning Crissotan.. The first Ari ning cited verses at the slightest provocation. written poems the winner, not the best re- Crissotan was (again) Amado Yuzon who Today, the few that remain meet only once cited. There have been many ligligan ruled a crissotan contest in 1930 held in in a while, during town fiesta when the where the contending poets had the op- San Fernando, beating Silvestre Punzalan mayor organizes a crissotan, or during par- tion to read their poems or recite them ex- and Roman Reyes. The debate was about ties when they spew rhymed drunken ut- temporaneously; it doesn’t matter. By the which love was supreme: love of country, terances over a plate of sisig. time the contestant recites his entry, a love of God and love of mother. Yuzon had But if you ask them, they will all say winner has already been chosen on the basis picked love of mother (lugud king indu). they are poeta laureado, or poets laure- of the written entry. Meanwhile, the other great Kapampangan ate, supposedly the highest honor a poet Even if a poet has been declared poeta poet of the 20th century, Jose Gallardo, could get. But in Pampanga, where there laureado for winning in a poetry writing became Ari ning Crissotan in 1952 in a is a hierarchy of titles in this underground contest, he can still join other such con- crissotan where he beat fellow poet Abdon poets society, there is only one Ari ning tests and can still win, but cannot be de- Jingco. The following year, Marcelo Parnaso, and that is Vedasto Ocampo of clared a poeta laureado again. Which is Cabrera of Macabebe beat Gallardo, thus

97 Rosario Baluyut Querubin Fernandez Geronimo del Rosario Eufrociña de la Peña Jaspe Dula

Felix Gracia Phol Batac Francisco Guintu Amado Gigante Teodulio Turla becoming an Ari ning Crissotan. The first Ari ning Parnaso was, that’s Akademyang Kapampangan and Angeles Finally, the Ari ning Parnaso (King of right, Amado Yuzon who got the title by University Foundation sponsored a multi- Parnassus) is the poet who wins in a grand acclamation since by then he was already genre contest to pick Gallardo’s successor competition that involves writing poetry, an internationally recognized poet. After as Ari ning Parnaso. The winner was Vedasto reciting it, and crissotan. This is the liter- his death in 1979, the title was transferred Ocampo. The last ligligan ever held which ary equivalent of the sports world’s to Jose Gallardo, again by acclamation, picked a poeta laureado was sponsored by triathlon, and it is held only once in a while, since he was an acknowledged master in Holy Angel University in 2004; the winner after the death of an Ari ning Parnaso. There poetry, crissotan, zarzuela, kuriru, was Francisco Guintu can only be one living Ari ning Parnaso. komedya, etc. After Gallardo’s death, the FOLK MINSTRELS THE ALMOST-EXTINCT POLOSA AND BASULTO SINGERS OF PAMPANGA Totoy Bato has been copied, exploited, Dizon), and another polosador (usually rumored dead, his name used to borrow Ruth Lobo), who alternates with him. money and get advanced payment--proof Polosadores are performers of of his extraordinary popularity among polosa, a folk musical genre that is of- Kapampangans. In fact, he has achieved ten confused with basulto, which is the cult stature in this province; his name is beat. Polosa is extemporaneous singing, almost generic, i.e., anyone who sings usually bawdy and reminiscent of Fred polosa is a Totoy Bato. For instance, Ruth Panopio’s yodeling (Panopio, by the way, Lobo complains that his songs on pirated is Kapampangan). Polosadores are in de- CDs are labeled Totoy Bato. Today there is mand because they liven up parties and a Totoy Bato Jr., who is still different from programs with their extemporaneous Totoy Bato 2, and there’s a Totoy Bato 3 songs enriched with details about a and a Totoy Bato 4, all polosadores riding celebrator’s, guest’s or honoree’s life on the popularity of the original Totoy Bato or looks. All a polosador needs to do is (real name: Rodolfo Laxamana of Porac). take a quick look at a person and he can When Totoy Bato gets invited to town already compose a song on the spot and fiestas, political rallies,company programs sing it, too. and private parties, he usually brings along Polosa may have come from the word a team composed of a guitarist (usually Oca prosa, which is a lower category than Vergara, who has his own portable sound poesiya, which is exalted language. system), a comedy duo (usually Pusoy Dos, Polosa, of course, uses the language of Rodolfo Laxamana a.k.a. Totoy Bato composed of Monching Basilio and Rico the masses.

98 THE LOST SINGING AND RIDDLING CULTURE OF KAPAMPANGANS IS THE RING REALLY GONE?

Bacolor family of mucisians THE ONCE-SUBLIME POETIC GENRES HAVE DETERIORATED INTO BAWDY JINGLES AND RIBALD TUNES, AND WAKES AND REUNIONS ARE NO LONGER HOSTED BY POETS AND FOLK SINGERS, WHO ARE ALL IN THEIR TWILIGHT YEARS. TO ADD INSULT TO INJURY, THEY OFTEN RESORT TO UNDIGNIFIED WAYS OF SOLICITING ATTENTION AND FUNDING By Joel Pabustan Mallari

Dalit a bugtungan, bugtungan a forms of poetry namely: The Marungay early trade. On the other hand, examples dadalit, o dalit at bugtungan? [Manungay?] and the Dalit. The first one of dalit from the Luther Parker collection Poetry has its different characteriza- is dramatic and sung while rowing and dur- compiled during the early 20th century tion in every culture around the world. In ing festivities. One person sings and the mostly have 8 syllables. Available versions the Philippines, as in Kapampangan, po- others answers with an estribillo or refrain. of pasiun chanted during the Lenten sea- etry still contains many of the ‘early forms’. The refrain does not have a fixed number son have syllables of 8, some have 6 or 7. Much of it though is buried in our prehis- of syllables, while the Marungay has 6 syl- The difference in the number of syllables toric past because of the absence of docu- lables, and the Dalit, which is graver in might have something to do with the way mentation. The problem with local liter- tone, has 7 syllables, or three feet and a it was sung or chanted. The prolongation ary approaches is that local poetry forms caesura. In the early Heian Period (794- of tones consists of several counts equiva- are viewed in the western context. Thus 1185 AD in Japan) Kanshi2 (Chinese poetry) lent to a number of syllables. much of studies undertaken focus prima- was the most popular form of poetry among Dalit or Kanta? Contemporary forms rily on the measurement of forms like the Japanese aristocrats. The most popular and cognates number of syllables, lines, stanzas and style of Kanshi has 5 or 7 syllables in 4 or 8 Ricardo E. Galang3 in 1940, categorized rhyming and not on the anthropological and lines. These, when chanted, were referred some genres of Kapampangan literature. sociological background. to as Shigin- a practice which continues He listed tumaila as lullabies, basultu as Dalit and Marungay vis-à-vis Chinese today. Ancient potteries such as Chinese an allegorical or comic song, kundiman as Kanshi jars traded in the Philippines had verses lovesongs, jarana [arana] as a serenade, Fr. Alvaro de Benavente1, a Spanish written on them. The trade with China irijia [aria] superstitious beliefs, vida or missionary who worked in Pampanga from could have been as early as the Tang dy- bie as folklore, pigmulan as legends, 1672 to 1698, wrote the Arte y vocabulario nasty (A.D. 618-906). Within the archi- kasebian [casebian] as maxims or proverbs, de la lengua Pampango, which remains in pelago like those areas surrounding the karagatan [caragatan] as poetical jousts, manuscript form. In this work he noted that Manila Bay the recovery of Tang and Tang- bugtung as riddles and dalit as a song on the Kapampangan language had two early type trade ceramics are evidences of this rustic life. Dalit is different from the kanta

99 because kanta is the generic term for all to the manner of delivering a poetic verse, magtalubang etc. Auit is a “riddle, or types of songs Galang mentioned. Dalit may thus talagale refers to the poet who deliv- metaphor in verse, like giving congratula- actually refer to one literary category or ers a verse. The term gege (dipth. guegai) tions. Magauit, migauit, to recite such form just like the old dalit mentioned by is the pattern of voice intonation and is the verses. Pagauit, pigauit, to whom these Fr. Benavente. Accordingly it is apparent opposite of the old sacurut term. These metaphors / verses are addressed”. More- that taladalit, literally the singer of dalit evolutions are also seen on the general over, auitan, inauit, refers to the person may have been a type of magkanta. It is understanding of the present use of the one has endeavored to attract; while just in the same category as magbasultu or tumaila term. This relatively new term mayayauit, meyauit, mayauit, is “the one mamulosu, the singers of basultu and specifically refers to a lullaby while it was that becomes attracted. Voluptate trahitur, pulosa respectively. Likewise, Fr. Bergano actually referred to bingcayo around the carried away by the pleasant emotion.” in his 1860 version of Kapampangan dictio- 18th century. On the other hand the taila Fray Bergaño adds “no other word can ex- nary, wrote the meaning of dalit as “cou- was the generic word for all “kinds” of lulla- press it with great propriety. Trahit, sua plet, ballad, Pampango songs… Manyalit, bies before. Today, the uses of dalit, and quemque voluptas, its pleasure carries to sing them…Délit, the song and to whom kanta are unconsciously interchanged in away everyone…” This term is also com- it is sung. Mirálitan, sing to one another.” use and in definition. Although in some as- mon not only to Kapampangans but also to Other important entries he listed are as pects dalit are now considered strictly as other languages like Hiligaynon and follows: religious songs or old folksongs and kanta Cebuano …5 On the other hand, Fray Gàlay. (dipthong.) Noun, tone or range are those that are considered popular songs Bergano recorded bugtong as an adjective of the voice, like in solmizing or voice prac- that follow the trend of western music. for “unique, the only one” which is still tice. Neutral verb, to sing in this manner, Likewise, the term kanta has become the being used today. But he noted that “it also to chant. See, Guegay. Idiomatically, generic term for all kinds of singing, from means, to proffer riddles or enigmas” while Migagalay, Migalegalay, to “sing”, not only the lalarin-larin lullabies we unconsciously bugtungan, is the riddle, the guessing in the intonation of music, but also in di- hum to the modern introduction of voiced game. Other words for this match are vulging some secret. Pigalegalay, the thing music. taquitaqui, and magtalubang6, Fray divulged. Pigalegale ra Bergano defines the ita, that is what they go former as “a thing about chanting/ divulg- DALIT, KARAGATAN, TALUBANGAN, BULAKLAKAN, spoken of in riddle, ing. Also, Pagalay, the TAILA, GÁLÈ, BASULTU, MARÚNGÈ, KIKIMUT, enigma, emphasis, bait that is moved in KASEBIAN AND OTHER PRE-HISPANIC FOLK and adage” and the little jerking motions on EXPRESSIONS ONCE FLOURISHED THROUGHOUT latter as “to play the the surface of the water, guessing game of the like the little beats THE KAPAMPANGAN REGION very cunning” re- made for one going over spectively. the notes in solfeggio. Pagalayan, the Dalit at bugtung, pre-18th century art The examples of riddles found in the place, or the fish as the objective of such and wisdom of singing 1860 version of Vocabulario of Fr. Bergano, an action. Mamagalay, the fisherman who Dalit is not an exclusive term among depict ordinary happenings in daily living, makes such jerking motions with the bait; the Kapampangans, According to Jose Villa which are delivered as riddles. Some of Sacurút. (a.) Adjective, is said of one Panganiban4, dalìt is a term known to which are as follows: who speaks or acts precipitously, or with a Bicolanos, Kapampangans and Tagalogs as “Linucsu yang dalaga, mebalag yang speedy gait, sacurut ya pamanagcas, a psalm or a religious hymn having a saya na: the maiden jumped, her skirt sacurut ya panlacad. Active verb and its dithyrambic epic. In an 1860 Vocabulario dropped: a riddle about the grain, jump- constructions, to speak, or to read, or to de la Lengua Tagala, dalit is defined as ing at the heat of the pan, it puffs, and act speedily. P. 2. that which. Mi, with in- “copla, o apodo con ella”. It has the same discards its shell / husk, as Emebusa7… tent, and its passive without an, in the past meaning with the older Tagalog dictionary Libolibong8 silo mo, palad nung acua tense. See Guegai, Galai, its opposites, and of San Buenaventura published in 1627. It mo co, is a riddle about the shadow: You you will understand sacurut; is equivalent to bogtong. So dalit is bogtong may have a thousand traps, it will be your Bingcayo. (g.) Noun, lullaby, a song to lull or bugtung in Kapampangan. This defini- good fortune if you can catch me… babies to sleep. Active verb, past and future, tion of dalit is similar to that of Fray Diego Ing quigli co quebuctut, suyi9 yang migcayo, or, magbincayao, to sing to lull a Bergaño. But as earlier noted, it is a bal- macatapuc, muban ya yata quing lub, alan baby. P. 1. the baby. P. 3. the place, like, a lad, “Pampango song”. Interestingly, no manðacung sibut, v. g. Pedro wishes to marry hammock. Maca, becoming lulled, able to lull; entries about basultu, pulosa are men- Maria, but her father detests Pedro, or if Taila. (pp.) Noun, lullaby. Neutral verb, tioned. Apparently, pulosa is an indigenized her father approves, Maria does not, unless future, Tumaila, and its variation, term of the Spanish prosa; while according there is one who would remove the difficul- Imagtumaila, to sing a tumaila, a lullaby. to Prof. Felipe de Leon, basultu songs like ties, his wish would remain a mere wish. P. 1. Ipagtumaila, the person to whom/for “Atin Cu Pung Singsing” have their simi- Literally, what I conceived and now is preg- whom a tumaila is sung/chanted. larity at least their melody to 18th century, nant with it, appears to be in a breech posi- Tagumpay. (diphthong). Noun, victory. Spanish and Mexican folksongs. This tion; there is a danger it shall grow old in- Magtagumpay, to sing of, or celebrate a folksong carries various interpretations side, without any prospect of it coming out… victory P. 3. the conquered. Gamba, and among several scholars, which indicates the Alang mininggang ibat quing lub, No Alaula, is for the barbarous negritos after enigmatic case of how Kapampangans com- one was born learned, and also, No one they have cut off heads pose their songs, the kanta, their dalit as comes out of the womb already dressed. The manner of literary delivery and riddles that measure their wisdom. Inquire about the meaning of this riddle: exchange is apparently significant even Fray Diego Bergaño recorded several Ding culyauan adua minðatba la quing before. In fact the term gale (dipth. galai) terms that picture Kapampangans’ riddling san”a. Two orioles roosting on the either is still being used today which now refers culture like auit, bugtong, taqui-taqui, side of the branch…”

100 Every set of the above mentioned ex- POETIC JOUSTS LIKE diua” amples comes in a 2-line of 6-syllable for- (Afterwhich, the makiabe paces, for ev- mat phrase. Poeta Geronimo Del Rosario BULAKLAKAN DURING ery step of the way he provides wisdom of once made an important insight on this, WAKES ARE MEANT TO contemplation) saying that these old phrases like bugtung EASE THE PAIN OF THE “Kanian kekang panlub ing aduan may not be that extraordinary to early ming saria Kapampangans as we come across on them BEREAVED Ing balang takbang mu today, they were just part of the ordinary as often coarse as witty.” Dian mung kabaldugan para king lines of thoughts and understanding, just On the other hand, in the ethnographi- Dios Ibpa…” like old words that we seldom use today. cal study done by Leon Gonzales12 in 1915, This excerpt involves a deep sense of Dalit = bugtungan and marungay = bugtungan and karagatan [caragatan] are wisdom and quick thinking. It is a challenge basultu part of the old customs done by to the wit. Among other contemporary The marungay might be the early form Kapampangans. These activities are usu- sources, bulaklakan is regarded as equiva- of basultu before, since some of the clas- ally associated with burial ceremonies. lent to the Tagalog duplo, a poetic game or sic examples like the “O Caca, o Caca” and Both involve a beautiful verbal poetic joust. contest dramatically strung into a short nar- “Atin Cu Pung Singsing” each has 6-syl- Extant examples show that bugtungan have rative sequence. Folksingers like brothers lable pattern. To date, the general prac- 2 or 3 lines only while the latter is a pro- Johnny, Florentino and Francisco G. David tice of basultu singing is composed of nam- gressive type of an emotional debate. More- of Jalung, Porac vividly remember the man- ing persons especially guests or listeners over, according to the experience of poet ner bulaklakan was played. According to present and or narrating present situations. Amado Gigante, karagatan is traditionally them, the old name of this game is This can be related to the early marungay considered as the introductory part of ev- talubangan. This is what Fr. Bergano men- (or manungay), of 6 syllables. The term ery session of bulaklakan. These 2 genres tioned as magtalubang in his 1860 glossary manungay, is a diphthongized term of together with kikimut, paisipan, and compilation. This poetic guessing game in- manungge which literally means pointing kasebian are regarded as old forms of pre- volves the use of imaginary characters like or mentioning something like persons or Hispanic Kapampangan drama according to talubang (butterflies usually composed of things. Another context of this term some- Edna Zapanta Manlapaz13. She notes that male participants) and bulaklak or sampaga what challenged those persons pointed at kikimut is similar to the Tagalog karilyo, a (flowers, the female members). The meta- or mentioned. As in the case of Fr. shadow play; while the paisipan and phorical interaction of characters takes Benvente’s description, one person sings (as kasebian are variants of bugtungan. place when the talubang flies and carries manungge?) and another answers. The following is an example of rhymed a bugtung and lands on a bulaklak. It is then Thus the old dalit is now known as poetic conversation between the ari (called answered in verse also. The separation of bugtungan and the old marungay (or poderdanti) and the makiabe (suplikanti). sexes indicates gender rivalry and the vic- manungay) is the basultu (and or pulosa). It was provided by A. Gigante based from torious members end up as new partners The old description for dalit and marungay what he heard from the older generation or lovers. fits well with Fr. Bergano’s examples of of poets he met before. Fr. Bergano provided an excellent ex- 14 bugtungan and that of the old and famous Makiabe: “Ginung mikibandi kaniti king ample as he wrote, “Bintalbintalan …is basultu pieces like “O Caca, o Caca” and santungan held like a thing that was never seen be- “Atin Cu Pung Singsing” of today. Aring pamuntuk na niting fore; from this nuance, the word is used Secret links of bugtungan, karagatan katatagan for a game of wits, similar to that played and bulaklakan Nanding maglakad ku king tulid by two or more contestants, so they say, In an ethnographical essay done by nitang dalan Ing talubang banua bintalbintalancoya, 10 Demetria Santos, there seems to be a slight Ding dakal a tau kaku lang amatan mecayabpayabpa can Pedro, and the an- difference in these two forms of riddle swer, E dimpa; the rejoinder: Nuya dimpa? games. As she relates, “bugtungan needs no Inia mengutang ku, karelang Talubang banua, (a certain species of but- further explanation and karagatan is some- pakibat atin bulaklakan” terfly, which no one has ever seen), and what the same as bugtungan but done only “A maginung ari, nung kekong the others now inquire from the contes- in a much complicated way”. In this case, itulut tants in the game. (The heavenly butterfly the people divide themselves into two groups. Kening katatagan, bias kusang I am inquiring it may have alighted on In a compilation “A Little Book of Fili- lauk Pedro. No, it has not! Where could it be?”) 11 th pino Riddles” the various terms for a Fili- Ban matad kung saya karetang 19 Century Karagatan Evolution th pino riddle are: in Ilocano it is burburtia, malungkut Generally in the 19 century, the in- in Pangasinan boniqueo, in Tagal [Tagalog] A likuan ning bangke atlu pamung digenous poetic joust evolves into a folk bugtong, in Pampangan bugtong, in Bisayan aldo ketang pangakutkut” verse game that sometimes involved a man tugmahanon. This collection further nar- and a woman. The karagatan just like the rates that the “young people mostly give Pakibat ning Ari (The king answers): Tagalog duplo/dupluhan had male out Filipino riddles. When several are gath- “Ing amung magsalita nung bias (belyako/ bellacos) and female (belyaka/ ered together they will question and an- kang lauk bellacas ) participants who presented in a swer; they are much in vogue when a young Kening katatagan, buri kung abalu make-believe court litigation, accused one gentleman calls upon his sweetheart; nung dakal ing abias ing kekang another of fantastic crimes in highly puz- among Tagals [Tagalog] and Pampangans at daralan zling terms while the accused defended 15 least the chief occasion for giving bugtong Uling siguradung detang disan themselves in terms just as puzzling , ar- is when a little group are watching at night Ing sablang bakal mu, iti itun gued their cases in elegant verses. The beside a corpse. In propounding a riddle it dangan poetic joust like karagatan, bulaklakan, is not uncommon to challenge attention by Kanita masubuk ampong mabitasa duplo and juego de prenda were actually repeating as witty a rhyme, which is quite King dakal ya bitbit iting kekang used to entertain guests and bereaved

101 families during wakes. Later on Spanish in- fluences came in, thus variants of poetic joust created the Crissotan and Tolentinuan16 genre. Crissotan is the Kapampangan equiva- lent of the Tagalog balagtasan (named af- ter Francisco Balagtas, the name by which Francisco Baltazar is popularly known). It is the art of publicly argu- ing in extemporaneous, metered and rhymed poetry composed of two opposing master poets with a moderator Dapot ngni surian tamu 1 Hernandez, Policarpo OSA, THE AUGUSTINIANS called lakandiua, while Tolentinuan has Ing cabilian da ring tau AND THE DEVELOPMENT OF PAMPANGO LITERATURE:THE AUGUSTINIANS AND THE DEVELOPMENT OF PAMPANGO three arguing individuals. The former was Keti babo na ning yatu, LITERATURE: Printing Press, Philology, Poetry and Reli- first coined in 1925 (one year after the first Ating mabsi, ating mau gious Literature.Printing Press, Philology, Poetry and Balagtasan was held in Manila, April 6, King cabiayan a mayubu Religious Literature. Alaya Journal No.3, Center for Kapampangan Studies, Holy Angel University 2005 1924) by Amado Yuzon in honor of Juan 2 http://en.wikipedia.org/wiki/Shigin Crisostomo Soto. The latter was first held Dacal la ring alang bale 3 Galang, Ricardo E. in 1930 in a Pampanga Carnival Fair which Maki-sulut la ring pobre 1940 Ethnographic Study of the Pampangans. Of was participated in by Amado M. Yuzon, Ing bili ra macajale, the Natural History Museum Division Department of Ag- riculture and Commerce, Manila Silvestre M. Punzalan and Roman P. Reyes. Dacal la ring mangamate 4 Panganiban, Jose Villa The crissotan just like balagtasan has its King danup alang pagcabie 1972 Diksyunario-Tesauro Filipino Ingles parallel in Visayan (using the same 5 Santos, Demetria. Napun, ngeni at bukas: the disappear- June 30, 1915 Religious Beliefs in Connection balagtasan name), Ilocano (bukanegan in with the Dead. In Philippine Folklore, social Customsand honor of the poet Pedro Bukaneg, the tran- ing act of unique humor Beliefs (A Collection of Original Sources) Collected and scriber of the epic Lam-ang), which began The loss of ancient forms of witty en- arranged by H.Otley Beyer Vol 9 (From the Pampañgan in the early 1930s. tertainment in today’s fading jambori of people) Pampañgan paper No. 6 (Folklore #336). Ma- nila. unpublished th The 20 century saw the entrenchment basultu and dalitan which once served as 6 A Little Book of Filipino Riddles by Various. The of American neo-colonial culture through an effective channel of social reforms is Project Gutenberg EBook. Release Date: December 15, the transplantation of American political alarming. Most of the remnants of the old 2004 [EBook #14358]8859-. Produced by Jeroen wisdom and compositions became dormant Hellingman and the PG Distributed Proofreaders Team, institutions, popular education, the intro- from scans kindly made available by the University of duction of the English language and reli- in the hands of the “able few”. Whatever Michigan. http://www.sakoman.net/pg/html/ gious reformation. A lot of writings, jour- remained of the early basultos or dalit 14358.htm 7 nalistic and literary, deplored social dis- played in short slots of airtime are limited Gonzales, Leon M. June 30, 1915 Past and present burial ceremo- eases perceived to have been brought to the humorous ribald versions of nies among the Pampañgans. In Philippine Folklore, so- about by America. Writers deliberately ex- folksongs. Wakes and other social reunions cial Customsand Beliefs (A Collection of Original Sources) erted efforts to resist this. If the Tagalog are no longer hosted by folk artists in their Collected and arranged by H.Otley Beyer Vol 9 (From houses but by instant services provided by the Pampañgan people) Pampañgan paper No. 7 (Folk- duplo gave birth to the balagtasan, lore #337). Manila. unpublished karagatan and bulaklakan gave birth to funeral parlors and resorts. Thus intimate 8 Zapanta-Manlapaz, E. crissotan, tolentinuan. They all became social gatherings are diminished into simple 1981 Kapampangan literature: Quezon City: vehicles of social protests in the 1920s as meetings over butul pakuan and tetra Ateneo de Manila Press. 9 Mallari, I.V. Ruth Elynia Mabanglo notes. In fact much packed juices. The fact that local artists 1954 Vanishing Dawn. Mc Cullough Ptinting Com- of these voices of protest penetrated all like poets and folksingers are mostly in their pany. Philippines. Pp. 75-79 forms of literary genres. One of the best twilight years and very few among the 10 Lacson, Evangelina H. younger generation have the passion to learn December 11, 1983 Kapampangan Poetry. Philip- examples is the Pasion ding Talapagobra of pine Center of International P.E.N., Cultural Center of Lino Gopez Dizon printed during the time this legacy further aggravate the situation. the Philippines of Luis Taruc at the height of socialist move- To add insult to this museum-bound tradi- Endnotes 1 ment in Pampanga. An excerpt from chap- tion is the fact that these old artists and prac- Awit n. Kpm. Hlg. Sb. Tg. song, chant, hymn. Syn. kanta, kanto, kansiyon; kundiman, balada, dalit, ter IX “Ding Tau Sucat lang Mie Antimong titioners clamor for public attention and so- imno; melodiya, himig, tono; tugtog, musika.—Hlg. Tau”, these 171-173 stanzas show a strong licit funding for them to support. Thus the ambahanon; Png. laingey; SL. awit. (Panganiban 1972) socio-political message of humiliation in a puzzling depth and humor of Kapampangan 2 From the word talubang, butterfly 3 riddles and songs of epic wisdom are most From the word busa. This word refers to toasted perfect 8-syllable rhymed verses: glutinous rice, the grains are puffed. (Bergaño 1860) Ing Dios diman e migculang likely headed to the last part of jambori, the 4 From the word libo, thousand Canitang cayang lelangan cheap public performance, which is not ac- 5 From the word suyi, a thing in reverse, that is Keting yatung cacarinan, tually appreciated by the new Kapampangan upside down, like the feet are above, and the head is below (Bergaño 1860) King sabla tang kailangan generation. As the popular “non-sensical (?) 6 Bintal, the precious stone (Bergaño 1860) Ala tang sucat iliwan. song “Atin Cu Pung Singsing” goes “meuala ya iti eku kamalayan”.

102 No one knows for sure where the fuse illustrations) or the pasyon pasyon originated. Some say it evolved limbagan (published by Cornelio from pre-colonial pagan or Hindu epic Pabalan Byron). chanting, ala Lam-ang, which Spanish PASYUN The pasyon is divided into stories friars later supplanted with the Chris- (istorya), each ending with a lesson tian salvation story. Others say it was DEPRIVED OF ACCESS (aral); the midsection of the entire the common folk’s attempt to recon- TO THE HOLY SCRIPTURES, pasyon is the memorial, as series of struct the Bible (as the Spaniards never soliloquies by Adam, Moses, Jeremiah, published the Bible throughout their THE COMMON FOLK CREATED the Virgin, etc. who each expounds on 300-year stay here), which explains the THEIR OWN VERSION the symbols of the Passion (nails, apocryphal elements in it. OF THE BIBLE crown of thorns, etc.). There are many ways of perform- The chanting alternates between ing the pasyon. In Cutcut, Angeles City, sane (plain singing), for which singers costumed live performers reenact In recent years, the Archdiocese of San often borrow familiar secular tunes, scenes from the Bible to synchronize with Fernando has discouraged the pasyon and and gege (mournful chanting), which sing- the passages being sung, which is probably other Lenten folk practices (like flagella- ers usually coincide with the arrival of fla- a vestige of more elaborate passion plays tion and crucifixion) by limiting its perfor- gellants at the puni (makeshift chapels (sinakulo) whose soundtrack was the mance until midnight of Holy Wednesday. where the pasyon is performed). One en- pasyon. Only few pasyon chanters, however, obey tire pasyon can be performed in 24 hours In San Basilio, Sta. Rita, villagers put the archbishop’s circular. (normal pace) or one-and-a-half days (when up two wooden balconies in front of the Old pasyon books are still kept like fam- the singing is dragged). chapel, each bearing a set of pasyon chant- ily and community heirlooms. Machine- Today the pasyon is no longer sung the ers and their respective brass bands. They printed copies have replaced manuscripts; way it used to be, mainly because old alternately perform one page from the one of the last practitioners of pasyon hand chanters no longer perform all night like pasyon at a time, usually to the tune of printing is Fr. Venancio Samson of Sta. before. Instead, they ask younger people classical opera pieces. Cruz, Porac. to take over the singing in the wee hours There was a time when practically ev- The Kapampangan pasyon is either and for lack of training, or maybe because ery household in Pampanga had a pasyon pasyon bininyagan (so called because its they run out of tune, or because they are during Holy Week, performed either by paid opening line is “O taung bininyagan”), or already inebriated, the young chanters re- singers or by family members themselves. pasyon samaritana (characterized by pro- sort to Top 40 tunes. (R. Tantingco)

Making fun of the pasyun or starting ‘em young?

103 A page from a folksy illustrated pasyun, depicting the Annunciation. These antique books with scintillating designs are geniune family and community heirlooms.

104 PASYUN OF THE SOCIALISTS Excerpts from Lino G. Dizon’s Pasion ding Talapagobra

Ding pari antimu naman Ilang pilit tang usigan King carelang cacalacal Ing Dios guewa riang pujunan Agad ta no mong panualan.

Nung cutnan mo ring sisimba Ing Dios ya ing sasamban da At panualan da talaga Ing catutuan aliwa ya Nune ping Pari at Cura. Catutuan ning sinabi cu SERENATA Alben yu ing daraptan yu Pibulayan yu sa ngacu IT WAS THE MOST AWAITED EVENT OF THE NIGHT, Potang akilala tamu LASTING UNTIL THE WEE HOURS Ban e tamu pasibayu. In the early Ing carelang pamaminyag 1900s, another most Ating mura’t mal a bayad awaited public en- Iti e tamu alingad tertainment in Ngeni surian yung banayad Pampanga, aside Nung yan utus na ning Mesias. from the zarzuela, was the competition Dakit mete e pareju between brass Ing pamamayad intieru bands, usually held in Iti mistulang comerciu the church patio or in Ngeni cucutnan da cayu the plaza. Two or Nung iti yutes ning Guinu.. more contending bands coming from different towns squared off before a crowd, playing alter- nately until they ran out of pieces to play. The last band stand- ing, i.e., the band that could play the most number of pieces without re- peating, was de- clared winner, and was awarded a hefty sum, enough to cover the expenses in- curred from weeks of practice. The competition could last up to 48 PASYON CANDABA consecutive hours, sometimes longer. Ac- Rossini, Auber, Bellini, Donizetti, The so-called Pasyon Candaba is cording to Mariano Henson, “cockfighting, Meyerbeer, Flotow, and of course, local folk in Tagalog, not Kapampangan. It was boxing, fencing, basketball, horse-racing songs. written in 1852 by a Tagalog native have not created so bitter animosities be- Among the better known brass bands priest, Fr. Aniceto de la Merced, who tween rival towns as did musical tourna- in Pampanga were the 37-member Band of was the parish priest of Candaba at ments of yesterday.” Angeles and the Brass-and-Reed Band of the time. The repertoire consisted of arias, fan- Sta. Rita, which were considered top ri- tasies, opera pieces from Verdi, Gounod, vals.

105 THE LOST ART OF CALLIGRAPHY OUR ANCESTORS DECORATED THEIR MANUSCRIPTS WITH FOLKSY DRAWINGS THAT REVEALED THEIR TASTES AND SOMETIMES THEIR NEUROSES

By Joel Pabustan Mallari with Arnel D. Garcia and Charlene Manese

106 FIRST FILIPINO THE CALLIGRAPHIC ARTIST- SERIAL-KILLER

PRIEST Fr. Hipolito was the par- PRIEST ish priest of Sta. Ana, OF MAGALANG Pampanga from 1809 to 1833. Fr. Juan Severino Mallari was the parish priest of Magalang, He is known as the first Fili- Pampanga from 1812 to 1826, during which he became men- pino calligraphic artist-priest. tally ill. He was later accused of murdering 57 of his parishio- His favorite subjects were ners, for which he was sentenced to death by hanging in Spaniards, giant bees and for- 1840.Thus he became the first Filipino priest to suffer the ests. Pages of parish reports death penalty (the GOMBURZA were executed in 1872). By and documents were often the way, Fr. Mallari is known as the second Filipino calligraphic decorated with beautiful artist-priest, after fellow Kapampangan Fr. Hipolito. His fa- handwriting and drawings. vorite subjects are naked boy angels.

Art History of Calligraphy the form of pictograms and ideograms, are Philippines, most of the people were already Calligraphy is the art of fine handwrit- executed within an imaginary square and capable of reading and writing. Pedro ing, in which the form of the letters is deco- read vertically from top to bottom. Chirino notes in his 1604 Relación de las Islas rative or elaborate. This term was derived On the other hand, among the manu- Filipinas, “...there is scarcely anybody who from the Greek kalligraphia (“beautiful scripts in Charles R. Boxer’s collection, cannot read and write in letters proper to writing”), which is usually applied to writ- (Boxer Codex 1590), there is a report that the island of Manila.” It can be presumed ing done in ink, but can also refer to in- described the method of writing of the that their literacy is relatively based on the scriptions in a cursive script on stone or early people in the Philippines, which ac- use of their own native scripts and language. engraved in metal just like the old tradi- cording to Antoon Postma, is still used to- The ancient “letters” or scripts were even tion of copperplate and pottery inscription day by the Mangyan tribes of Mindoro and mistakenly called for the longest time in in Southeast Asia. Calligraphy ranges from the Tagbanua of Palawan in writing their history as “alibata” from an Arabic term / functional inscriptions and hand lettering own script: alif/, /ba/, /ta/. It was during the time of to fine art pieces where the expression of “When they write, it is on some tab- Antonio de Morga (1609) that he thought the handwritten mark may take prece- lets made of bamboos which they have in these characters resemble the Arabic alpha- dence over the legibility of the letters. The those islands, on the bark. In using such a bet. Through the course of history the likes oldest surviving form of calligraphy is the tablet, which is four fingers wide, they do of Paul Verzosa and Pardo de Tavera propa- hieroglyphic script developed by the Egyp- not write with ink, but with some scribers gated this term without scrutinizing much tians in the 3rd millennium BC. This script, with which they cut the surface and bark of the contextual background of these old based on picture-writing, is often said to of the bamboo, and make the letters.” Philippine scripts. Thus the word “alibata” be the most attractive form of writing ever In the 1619 Arte Y Vocabulario De La is not the right term for this ancient script. devised. Phonetic symbols (representing Lengua Pampanga of Fray Alvaro De At present these almost fossilized scripts are sounds) and ideographic symbols (repre- Benavente, he was able to record samples now called Baybayin, or Kulitan based on senting concepts) take the form of objects, of the old calligraphy of the Kapampangans. recent research and use which actually de- animals, and people. Hieroglyphics were In Fray Diego Bergano’s 1860 edition dic- notes the phonetical characters of these old carved on monuments and inside tombs, tionary, he did mention several hints about scripts. usually in association with figurative relief the native calligraphy of the To date, only the Tagbanua of Palawan sculpture. On papyrus manuscripts, hiero- Kapampangans. Some examples read as fol- and two tribes of Mangyans in Mindoro still glyphic script, executed with a broad-edge lows: write in their own native scripts except for reed pen, was often pleasingly incorporated Culít, fine points in Pampango handwrit- some of the scholars of Philippine paleogra- into the scenes to which it related. By the ing. Magculit, to learn reading its charac- phy. On the other hand, there are at least 5th century BC, a less complicated method ters… Pagculitan, a little book of exercises three widely recognized artifacts that are of writing had been developed by the in Pampango spelling; evidence of early “Filipino writing” - the Phoenicians; the Greeks with whom the Lalam, under, opposite of above… Y silver paleograph found in Butuan, the earth- Phoenicians traded used this system as a lalamo que yang susulat mo. Place it below enware pot from Calatagan, Batangas and basis for the first alphabet. what you are writing; the most significant of all, the copper plate In China and Japan calligraphy has for Tumbalic, to put something in reverse, from Laguna de Bay dated 900 A.D. many centuries been a highly respected art that is, what usually is atop is place below, In Pampanga, there are at least 3 sets form, and is considered at par with paint- like the penmanship going upwards; of old Kapampangan scripts recorded dur- ing: The same soft brush and ink, and the Thus it can also be presumed in addition ing the Spanish colonial period. Copies of same light and swift technique that are to previous paleographical studies that the these can be found in the 1895 book of used in Oriental painting are also used for native Kapampangan scripts like most of the Cipriano Marcilla, the Estudio delos Antiguos calligraphy. A fine piece of calligraphy native Philippine scripts are very similar to Alfabetos Filipinos, like the copies made by would be admired in the same way as a the writing system of most oriental countries Fray Alvaro de Benavente (1700?), Alfred painting. like China and Japan, and that of the Indian March (1887) and Sinibaldo De Mas (1843 and Around 1750 BC, during the Shang dy- and Islamic calligraphy of Asia in general. 1863). These old scripts or characters are nasty, Chinese calligraphy emerged as a Ancient Philippine Scripts composed of 3 old forms of siuala or kakatni writing system in which the characters, in Upon the arrival of the Spaniards in the (vowel equivalent of /a/, /i/, and /u/) and

107 LETRAS Y FIGURAS

Wealthy families and individuals com- missioned painters in the 18th and 19th centuries to paint important events, people and places in their lives and other autobiographical sketches in such a way that when seen from a certain distance, the aggrupation of these images form acronyms, words, phrases or even num- bers. This quaint art is called letras y figuras (letters and fugures). The skill of a letras y figuras artist can be mea- sured by the subtlety with which he is able to form these figures into the de- sired letters, as well as by the element of surprise upon the viewer’s discovery of the letters. Most letras y figuras paint- ings are museum pieces but surprisingly, Ventura memorial School of Arts and Trades perform in school activities like those at one Kapampangan still makes them. His in Bacolor, where he finished the degree Holy Angel University. His works have name is Alvaro M. Jimenez of Bacolor, BS in Industrial Education Major in Archi- been exhibited at the Ayala Museum, the Pampanga. He learned the art mostly by tectural Drafting and Art Appreciation. An National Museum, the Manila Metropoli- studying the masters’ works although he unassuming man, he plays the violinwith tan Museum and dozens of hotels and gal- got formal schooling at the Don Honorio friends, sometimes accepting invitations to leries.

11 forms of mikikatni (representing 2 con- just the same and that of /o/ and /u/. the old Kapampangan and Sambal scripts sonant equivalents, /d/ and /r/ only has 1 Minalin Wood Inscription recorded in the Estudio delos Antiguos and the same script character). Studies un- During the church heritage visits of Alfabetos Filipinos. The scripts may sug- dertaken by Michael Pangilinan and Edwin KAMARU (Former HAU Archaeological Soci- gest a technical label of a carpenter’s plan Camaya, both researchers of Kapampangan ety) in the summer months of 2003, they of construction, or it may have been a part language, suggest the other use of the old found a neglected wood fragment, formerly of marking the type of timber being classi- siuala characters as kambal siuala (stressed part of the old roof frame of Sta. Monica fied. The earlier form of building materials forms which are now represented by the use Parish in Minalin, Pampanga. This fragment was primarily composed of sturdy logs of diacritical marks) and mikukuyug a siuala is one of the few remnants left and is now sourced from the mountains of Zambales (dipthongs like /e/ [/a/+/i/] and /o/ [/a/ kept inside the museum of the said church’s which supplied most of the material for the +/u/]). Although other paleographers includ- convent. One of the surface ends of this old church structures, galleon ships and early ing Fray Alvaro de Benavente proposed that wood contains a very brief incision of old palisades. These were very similar to those the character symbols for /e/ and /i/ are scripts. The old scripts resemble much of built in the old kuta of Manila, Tondo, Betis and Lubao. They were also used for the manufacture of big boats like the barange HANDWRITING FROM THE 1600S and biruk models. Most documents point to the creation of Minalin pueblo in 1614 while records show that the Sta. Monica Parish was finished before 1834 and was reconstructed in 1854. Fr. Isidro Bernardo restored and decorated the church in 1854, while Frs. Galo dela Fuente and Vicente Ruiz made These are a few of the samples of This is an excerpt from the Doctrina some repairs on this church in 1855 and 1895, 17th century Tagalog Baybayin handwrit- Christiana, en lengua española y tagala, respectively. Nevertheless, the antiquity of ing that are kept in the archives of the which was one of the first two books the wood fragment is relatively not as im- University of Santo Tomás (UST Archivos printed in the Philippines - the other be- portant as the inscriptions. The interesting Libros, tomo 22). These images were ing the Tratado de la Doctrina de la Santa fact lies on the literate manner of writing in traced from photos in a book by Alberto Iglesia y de ciencias naturales, written the old local calligraphy probably written Santamaría, El ‘Baybayin’ en el archivo in Spanish and Chinese. Both books were during the time the roof frame of the church de Sto. Tomás, 1938. Here are six signa- printed in 1593. was constructed. It was said that the native tures and exerpts from two land deeds. Transcription of Text scripts played an important role in the se- Notice in the first example that Don The abc. in the Tagalog language cret military communications of early mem- Dionisio Kapolong wrote a kudlit above A U/O I/E Ha Pa Ka Sa La T bers of the Katipuneros (early 1892) com- and below the letter “Da” in order to a Na Ba Ma Ga D/Ra Ya posed mostly by Kapampangans and Tagalogs. write both “Don” and “Di” with just one NGa Wa || character. Kapolong was the son of Lakan (Excerpt from Paul Morrow’s website: http:// Dula. www.mts.net/~pmorrow/handwrit. htm; http:// www.mts.net/~pmorrow/abc.htm)

108 The late Apung Luding Franco of Pescadores, Candaba waits BURUNG BABI, for the rice and fish to ferment inside sealed jars

half-year. “Every household has its own BURUNG ASAN banca. Children two to three years old are FERMENTATION AS A WAY OF PRESERVING being given informal swimming lessons—not THE HARVESTS OF SUMMER AND FLOOD SEASONS in the pool but in five to 10 feet of flood- waters. Food and rice are stored for rainy By Myra P. Lopez seasons. Hand tractors are always ready in case the roads are not passable for jeepneys and motorized tricycles,” Mang Poncing said have begun using tilapia, gurami and With the preponderance of fast food all in an interview for the September 30, 2006 shrimp (balobalo), etc. for their buru, it is over, it’s good to know that an ancient tech- issue of SunStar Pampanga. only Kapampangans in Candaba who still nique of food preparation involving meticu- It is no surprise that the preparation make buru out of pork (burung babi) and lous care and long days of waiting has sur- and ingredients of the Candabeños’ burung bulig or mudfish (burung asan). vived in Pampanga. This is the unique, asan and burung babi reflect their land and The people of Candaba, who call them- controversial love-it-or-hate-it buru, or their coping mechanisms to it. Their catch selves Candabeños, are used to a hard life fermented rice, which lovers call food for has to be fermented as a way of preserving punctuated by calamities; they live on a the gods, and which haters compare to cat’s and making it last—the pork (babi) when floodplain that used to be a prehistoric lake vomit. It’s almost a staple fare on the floods come, and the fish (asan) when that dried up and became a swamp during Kapampangan buffet tables alongside fresh the floods are gone colonial times. Perennial floodwater from and boiled vegetables and fried catfish. Until her death recently, the most the Pampanga River collects and stays for One town in Pampanga is known for its popular buru maker of Candaba had been months in this depression, which has forced buru—the town of Candaba. While the 81-year-old Lourdes “Apung Luding” Candaba farmers to turn fishermen for a Kapampangans, like the rest of Filipinos, Franco of barangay Pescadores. She put

109 2. Brush the fish until it turns white, mak- THIS UNIQUE ing sure there is no trace of blood left. DIFFERENTIATING KAPAMPANGAN TABLE 3. Salt the fish and put it in an air-tight TOCINO, PINDANG FARE HAS BEEN OMPARED container; set aside for one day 4. After one day, wash the fish thoroughly AND BURUNG BABI TO CAT’S VOMIT and set aside for the next step Rice: In Candaba, the fermented strips of up her own small buru shop after her friend 1. wash the rice, preferably Class 42 pork and rice is called burung babi. Natividad, who had taught her the art of 2. cook rice until done Elsewhere in making burung asan, migrated to the 3. let the rice cool and add salt to taste; Pampanga, United States 10 years ago. Apung Luding make sure not to add salt while rice is hot, the term started with only 5 to 10 takup of buru, or it will spoil easily. burung babi selling them at P10 apiece. Her daughter- 4. arrange the fish one layer at a time, al- is synony- in-law had taken over the shop since her ternating with a rice layer, in a sterilized mous to death, thus ensuring the survival of the garapon (wide-mouth glass jar); seal the jar pindang, small industry. Tocino as sweetened to prevent air from seeping in, or else ularan which is fer- BURUNG ASAN cured meat da ing buru (maggots will spoil the buru) mented meat Ingredients: 5. keep the sealed jar containing the buru minus the Bulig (mudfish) for 15 days. rice. On the Rice 6. after the fermentation period, maslam other hand, Salt ne (it is sour enough) and it is ready to cook cured meat, Preparation: · Only few can make buru, there’s a saying like the Fish: that nung mabuluk ya gamat ing ginawang Tocino as rice cake in sweetened 1 First wash thoroughly the bulig, which buru ularan da iti Concepcion, Tarlac commercial must be fresh variety, is called tocino. DIFFERENTIATING ENSAYMADA, In barrio San Jose in EMPANADA, PANADA AND PANARA Concepcion, Tocino del cielo - mini Tarlac, which The ensaymada is not unique to The poor man’s empanada is the leche flan of Minalin is still part of Kapampangans, nor is the empanada. panada (that’s empanada minus the first the But the panada or panara is most likely syllable). It’s interchangably pronouced Kapampangan found only in Kapampangan-speaking ar- as panara, since d and r are Region, eas in Central Luzon. Unfortunately, interchangable in the Kapampangan lan- tocino is not Kapampangans themselves hardly know guage. meat at all, how to prepare it anymore. The difference between empanada but kalame To avoid confusion, here’s how to dis- and panada/panara is the stuffing. Burung babi of (rice cake), tinguish one from the other: Panada/Panara uses only grated papaya Candaba is fermented made of Ensaimada or ensaymada is the puffy because obviously, that’s all that the meat with rice galapong bread with tons of white sugar, cheese poor could afford. And to make it pal- (ground rice) and butter as topping. Malolos, Bulacan atable, our ancestors spiced it with lots and gata (co- makes the largest ensaymada, but old of black pepper, which, it turned out, conut milk), families in San Fernando, Pampanga are transformed the lowly panara into a similar to the said to make the best ensaymadas. delicacy. tocino del Empanada, on the other hand, is the Only a few households in cielo of local meat pie, i.e., dough with ground Concepcion, Tarlac and some towns in Burung babi elsewhere Minalin pork or chicken strips stuffing. Nowa- Pampanga still make panara. Once upon in Pampanga is town,which days there are a zillion variations of the a time, everyone had panara after the synonym of pindang, are tiny empanada, with stuffing ranging from simbang bengi (Christmas dawn Mass). cured meat turned sour leche flan. sweet ham to vegetable to fish to sau- Today, the panara is just a memory, of- sage. ten confused with empanada. SAMANI: THE EDIBLE BASKET THIS QUAINT PRODUCT IS FOUND ONLY IN ARAYAT TOWN

The samani used to be a favorite table centerpiece during fiestas and banquets; sometimes visitors brought it as a gift to the host or celebrator. Today, only a few households in Arayat make samani. Main ingredients: oversized mani (peanuts), white peeled peanuts Preparation: Roast in a kawa (vat) over low fire. set aside muscovado sugar for making syrup or caramel, to coat peanuts; the coated peanuts are arranged to form a flower basket, the syrup is used as adhesive

110 BINULU KAPAMPANGANS IN PORAC ADOPT AN AETA COOKING TECHNIQUE By Ana Marie Vergara

According to Silvestre David, barangay goes beyond the quality sand that its lu- inserted in the bulu, lay the bulu down or chairman of Babo Sakan, Porac, the abun- crative quarry industry produces. lean it against a batayan, which is another dance of bulu in Porac led to the practice Binulu is both a way of cooking food bulu, or piece of wood, or steel. The of cooking binulu-style since ancient times. and a way of presenting the cooked food. batayan is propped up or supported by the On special occasions like fiestas, his fa- All ingredients are put in a bulu (member patukud. The food is cooked when the ther would tell him, “Tara, munta ka ta of the bamboo family used in making meat is tender. babo (bunduk), maminulu kata.” Guests sawali, woven bamboo splits) which func- For rice, after the abias is put in, the from other towns usually requested binulu tions as a canister; the basic ingredients bulu is filled with water until it overflows. as the main attraction of the banquet. are tomatoes, kamias, onions, garlic, salt It is considered cooked when the water Mayor Exequiel Gamboa of Porac, with and your choice of chicken, pork, seafood turns green (from the banana leaves). the support of Porac parish priest Fr. Elmer or fish. All cut in small pieces (small enough Other tips: Simbulan, organized the first Binulu Festi- to fit in the bamboo) which are first mixed 1. Choose a malagung bulu (young val which was held on November 5, 2005. in a bowl before being put all together in- bamboo), whose moisture prevents food Its aim was to revive the ancient practice side the bulo up to ¾ full. Meanwhile, rice from burning and make Porac residents, as well as the is cooked binulu-style by first wrapping 2. Cut the bulu in scallop so it does rest of the Kapampangans, not only appre- abias (uncooked rice) in banana leaf, like not break in two. ciate the ways of their ancestors but actu- suman, which is equivalent to one serving; 3. Don’t use patis (fish sauce), which ally cook binulu-style once again as a you can put as many as four pieces of produces a bad smell kitchen option. Binulu teaches the value wrapped rice in one bulu. Another, quicker 4. Add pandan leaves in rice for fla- of making use what is available. (Since pre- way to cook rice in a bulu dispenses with vor and aroma historic Kapampangans generally used banana leaf wrapping; instead, a small hole 5. Don’t press the rice too much earthen pots in cooking as evidenced by is cut on the bulu through which uncooked when inserting in the bulu to avoid gagtu archaeological finds in Porac, it’s possible rice is inserted and, after the hole is cov- (half-cooked rice) that binulu was first used by mountain ered, the bulu is laid horizontally on fire; 6. Keep the bulu still throughout tribes that were constantly moving, and this technique is called patulang. cooking and don’t let anything hit it or the passed on to settlers who used bamboo as food will not cook well alternative to pots in times of evacuation.) Let’s cook the binulu way 7. After removing the bulu from the The local government wanted to let the rest fire, the residual heat in the bulu continues of the world know that Porac’s reputation All ingredients plus a cup of water are to cook the food inside (panangnangan)

1 2345 1. Wrap uncooked rice (abias) with banana leaf a la suman 2. Insert in bamboo pole (bulu) 3. Add water 4. Put bulu over fire until water turns green and wrapped rice pops up 5. The cooked rice is ready to eat

111 The frothy mug of suklati that our Preparation Then they are cracked and peeled. This is grandparents prepared for breakfast, 1. She prepares the two main ingredi- followed by sifting (bibitse) the cracked segundo minindal (snacks) or even before ents: mani (peanuts) and kako (cacao). In cacao to separate the beans from the pow- bedtime is rarely served now. Popular buying peanuts, the native nuts (smaller) dery cacao shells, a process done manually lifestyle has changed through the de- taste better but take more time to peel. using the hand-woven bitse. cades; the age of native cooking has 2. The peanuts are peeled off their hard 4. When both the peanuts and cacao ended with the proliferation of fast foods shell and roasted in a wide iron vat (kaua) and have been roasted, they are now ground and the rise of the malls. constantly turned until they become brown together in a manual grinder (guilingan But to 83-year-old Victoria Alviz and crisp. They should be evenly cooked. Then bacal). At this point the mixture becomes Almario or Apung Toyang, the art of pre- oily from the peanuts. For an even consis- paring suklati has remained the same tency, the ground mixture is placed in a through the years. Until now big bowl (palanggana) where it is Apung Toyang prepares the mixed again manually in a traditional chocolate wooden ladle. tablea (flat cylindrical 5. For the second time shaped chocolate) the mixture is blended from which the in an electric grinder foamy suklati is to produce a finer, made. This she creamier and learned as a smoother chocolate. young wife in 6. This smooth 1953 from her blob of chocolate is mother-in-law. As now refrigerated, is true with all until it becomes firm. Kapampangan art- SUKLATI KING BATIRUL 7. The last step is ists and craftsmen, THE CHOCOLATE DRINK OF A VANISHED when this thick, firm she is more con- chocolate is shaped into cerned with the pres- KAPAMPANGAN GENTEEL LIFESTYLE tablea, with the use of a ervation of the authen- By Erlinda Cruz tabrilla, similar to the molds ticity and accuracy of the used for polvoron. preparation rather than its 8. Now they are ready to be commercialization. She maintains packed into fifty tableas. a chocolate shop which doubles as resi- For a truly delicious cup of suklati, dence within the commercial area of they are cooled in room temperature. Apung Toyang suggests two tableas per cup Guagua, Pampanga, with a tiny signboard 3. The same procedure is done with with sugar and milk to taste (she uses any buried alongside other bigger establish- the cacao. Apung Toyang says that in buy- evaporated milk, but others use carabao ments in the area. She still gets a steady ing cacao, one has to choose the round ones milk). In a bronze or copper chocolatera but slow stream of customers. This how- (e la pipit, not flattened). The fresh cacao (chocolatier) the mixture of tableas, boil- ever is not always the case. The only time should be firm or hard and should not col- ing water, milk and sugar is mixed by beat- that she gets an increased order is during lapse when pressed between your fingers ing, using a wooden manonillo or batidor the months of November and December. (e la dapat malalaso potang paslan mula). (batter;) until it becomes frothy. SANIKULAS A BISCUIT AND A PRAYER The biscuit, which is best served with tsokolate, is named after St. Nicholas de Tolentino, whose middle- aged parents, Compagnonus de Guarutti and Amata de Guidiani, were childless until a prayerful visit to a shrine of the original Saint Nicholas at Bari, Italy. In gratitude, they named their son, Nicholas. The Augustinian friars brought the San Nicolas bread to Pampanga during the Spanish Period with variations from the local bread. The biscuit is made with arrowroot starch. Locally known as araro, the arrowroot plant has Apung Toyang of Guagua and her rhizomes (or roots) that yield edible and almost pure traditional chocolate tablea starch. The powder is used in cookery as a thickener. Arrowroot is chiefly valuable as an easily digested, nour- ishing diet for convalescents, especially with bowel com- Because Kapampangans sometimes Lilian Borromeo of plaints. It also has other medicinal properties such that pronounce their d as r and their o as u, Mexico makes the best batidor (instrument for beating) even- the mashed rhizomes are used as application to wounds sanikulas in town tually became batirur which became from poisoned arrows, scorpion and black spider bites, batirul

112 Frog catchers in Magalang use a long bamboo pole, a bait, a basket and plenty of silence KISS THE FROGS GOOD-BYE GLOBAL WARMING, POLLUTION AND RAPID URBANIZATION ARE DESTROYING THE FROGS’ NATURAL HABITATS IN PAMPANGA By Erlinda E. Cruz “Anything that flies or moves,” writes would gamely catch the frogs while their poses. Because frogs in the rice fields only Gilda Cordero Fernando, “the rural Filipino elders were busy cultivating the land or ate insects, the people concluded that they quickly swats, cooks and eats.” planting rice This game eventually became were safe to eat and thus tried to make The Kapampangans are an agricultural an opportunity for families to establish dishes using them. The Kapampangans, people, close to the fields, forest and strong bond as the technique used in catch- known for their virtuosity in their cuisine, streams (from where comes exotic food). ing frogs evolved to the point of being ritu- ultimately discovered the gastronomic at- Getting free food from the fields, forests, alistic. It was not unusual to see families tributes of the frogs. Indigenous ingredients rivers in the right seasons is part survival on top of a pilapil in many rice fields with that is used to create various exotic recipes and part providential. The earth continues their paduas (rod) on one hand and panyapu like the betute, a relleno-style dressed frog to replenish itself and all around, possibili- (bag or basket) on the other. They would stuffed with minced frog meat or pork and ties seem endless. Thus, it is in the rural, patiently wait for the frogs to bite the some finely chopped herbs and spices. Tra- oftentimes, remote areas where exotic bulateng tudtud (worm used as bait) as they ditional frog recipes include adobung tugak, food start and reach our tables. Our op- move the paduas in a slow horizontal di- tinolang tugak, lelut tugak and almondigas. tions are expanded in the many additions rection. They do this very quietly so that Today’s culinary gurus have included reci- to our usual food fare. the frogs would not be agitated. pes of Asian and European influences such Mamaduas Tugak (Frog Catching) This practice of frog catching was as froglegs and mushroom teriyaki, frog in The frog is a part of Kapampangan tra- handed down to the succeeding genera- fricassee, frogleg sauce piquant, frog burger, dition and culinary culture dating back to tions. Though the mamaduas (frog catcher) frog salad and many more. pre-Hispanic times. In the early days when have decreased this day, people in the ru- To date, the betute is the most sought farmers were totally dependent on rain- ral areas still carry this tradition for their after frog delicacy in restaurants which water to irrigate their farms, the children own consumption or for commercial pur- serve Kapampangan food. The continued

113 patronage of this exotic handsome prince at your din- cuisine ensures a stable ner table. It becomes an ob- income to the restaurants scene betute on your dinner and of course to the frog plate. The betute is the most catchers. popular and appetizing way of Betute probably came cooking this amphibian. In ear- from an old Kapampangan lier times the more prudish word (still used in some cooks tied the legs of the frogs towns in Nueva Ecija) that snugly before frying them so means barbecue- a hint at that they did not spreadeagle the manner of cooking the Frog-catching implements include the bait, a worm strung vulgarly during the frying (e la frog. with wild grass makabukaka). Nowadays, the The Preparation cooks’ concern is not the visual The mamaduas tugak (frog catchers) tutu, the native frog (Rana Cancrinova and layout of the betute but the taste of the prepare their materials before they go to Rana limnocharis) which are green, brown dish. This frog recipe is an excellent example the ricefields to harvest these amphibians, or with spots and stripe at the back. of Kapampangan creativity in the culinary particularly at the start of the rainy sea- Karag – refers to varieties of toads arts. son (July-August). First, they prepare the which are stout and have warty skins; ex- The preparation starts with the live frog rod, which could be a bamboo pole, bulo, amples are the baner (Bufo marinus, widely set on a chopping board. The butcher uses or even timbu (the stem of tiger grass usu- distributed in the Philippines and intro- ash or salt to hold the slimy creature firmly ally used for making brooms). At the nar- duced to the islands during the American on the board as he makes a cut between the row end of the pole, a string is attached Period) and the karag gubat (Bufo frog’s head and body but not cutting through which in turn ends with the panyaklit (the biforcatus philipinicus) which old folks the neck side. This is for the cook to have a circular catch with the baits). This catch is claim is also edible and delicious especially good grasp of the head for the next step. From made by stringing bulating tudtud (earth- its muscled leg parts. this cut between the head and the body, the worms) with the use of the needles sharp Uses of Frogs: skin is ripped off from the nape down to the tip of a wild grass (either dikut damulag, Aside from their gastronomic value legs in one brutal movement, like a Axonopus compressus [Sw. Beauv.] or frogs are also used by farmers-fishermen superhero’s suit being shorn off. At this point Dactyloctenium aegyptium [L.] Richt, or as pamalwe (bait) for the bulig (mudfish). the frog is still very much alive with its na- kurus-kurusan, Chloris barbata [L.] Sw. ) They make a patukba (a curved fishing rod) ked body jerking violently. (found around paddies). When this is not where frogs with metal hooks (taga) are After the skin is discarded, the head is available, a needle is used. But before the aligned and then submerged into the riv- now cut off totally and the innards care- worms are strung, the mamaduas squeezes ers or streams to attract the mudfish. fully removed so that the frog’s translu- the bulati with his fingers (lalako la tabud) Piestang Tugak cent body is not torn. Then the lower por- until what remains of the worm is just the For the past four years, the City of San tion of the frog’s legs are also cut off (from skin, which makes for stronger bait. When Fernando has been celebrating Piestang the knees down). It is now washed clean preparing the bait, the needle or pointed Tugak, an annual frog festival organized by until no trace of blood is found and finally tip goes through the whole length of the the city government to preserve and pro- it is drained. The stuffing is now prepared. worm (skin) so that after stringing several mote the frog traditions of the province. It Ingredients of Stuffing: baits the circular catch is filled with the is one of the activities held in conjunction 1. Minced pork or frog meat (the smaller shirred skin of the worms. The mamaduas with their celebration of the cityhood of frogs) brings extra bulati wrapped in banana leave San Fernando. 2. garlic, onion, pepper, beaten egg, salt so that they don’t dry up. Among the different competitions for 3. tangle, optional (chopped) Frogs abound in wet rice paddies or in the Piestang Tugak are: Procedure: other saturated fields or grassy undisturbed -Frog catching 1.The ingredients above are mixed in a places. By nature, they are habitual dwell- -Frog costume bowl ers and would always go back to their origi- -Frog Olympics 2.The frog is stuffed carefully with the mix- nal habitat. -Frog Cuisine ture. Make sure the mixture is packed up Kinds of frogs: -On-the-spot drawing tightly Tugak generally refers to frogs such as The Prince of Frog Recipes 3.Fry the betute in cooking oil until golden tugak pepekat or tugak saba (Rana Betute: brown. erytthaca) and tugak kakanan or tugak The ugly creature does not turn into a

In preparing the betute, the frog is The extremities are cut off The frogs are ready for stuffing with minced dressed first by peeling off its skin frog meat and bones, or ground pork

114 Harvested sasa palm juice in jars being transported through the river THE LOST TRADITION OF WINE- AND VINEGAR-MAKING IN PAMPANGA OVERPOPULATION AND SILTATION WIPED OUT NIPA GROVES IN THE RIVER DELTA, WHICH WERE THE SOURCE OF TUBA, LAMBANUG AND ASLAM SASÁ By Ruel Sunga Manaloto and Joel Pabustan Mallari

Tuba is the sap that flows out of the karitan every extracting time, which usu- this lowly town of Bulacan; the product is sasá (Nypa fruticans Wurmb.), from the ally occurs twice to thrice a day, one be- now popularly known as sukang paombong. stem of its palm fruits. Gathering tuba re- fore sunrise, one at midday and one more A container, usually a bamboo tube quires awareness, talent, persistence and after sunset. When gathered in the early called tuquil or tukil (½ kabias, or half- care. One has to know exactly when it is morning, the sap is sweeter and has the node length; the smaller sizes were called appropriate to cut the bunch of fruits; how taste of soft drinks; it is called tubang tuquilitas by the Spaniards) or a plastic to paldak-paldakan (that is, kick the tinumis, which can be poured like soup on bag, is attached to the end of the stem to stems) and how to agud-aguran (care for hot rice as soup. The first extract of sap is catch the free-flowing sap. A good flow is them). When fruit stems begin to duku what the people of Minalin call tuba; the about 1 gallon of sap every morning from (bend), the manuba (tuba gatherer) cleans excess volume when carried to the next each stem. Sap is harvested from each stem the stems and kicks them repeatedly for day’s consumption is mikabukasan or for the duration of only one month or else pitung biernis or pitung dumingu (the miaslagan; when it becomes sour then the sasá plant will die of overdone. ritual specifies the stem must be kicked 7 they call it balasubas. After a couple of It can be said in passing that the leaves times a day 3 times a week, for a total of 7 days, it already tastes like wine and that’s of the sasá palm are good for roofing and weeks). After which, a bunch of fruits is when it is called tuba by people of most siding; early Kapampangan carpenters cut at the end of the stem using a curved towns around Manila Bay. If fermented fur- called such roofs as pinaud a dalungdung knife known locally as karit (the word al- ther in jars and it becomes much sourer, it and such sidings as pinaud a dingding. The ready appears in an early 18th is now what most people nowadays call stem of the leaves is used as firewood. The Kapampangan dictionary of Fray Diego aslam sasá, the sasá vinegar. This tradi- fruit, if not utilized for tuba, is used to Bergano). The cut must be slightly inclined, tion has been passed on to the early people make the delicacy known in Mindoro as the cutting done little by little as in karit- of Paombong; it is the major industry of bagkat, very similar to the Kapampangan

115 tinaklub (which is made from sugarcane). acidic/sour. The words also refer to fruits kinds, and this is to make a mixture, lauc, Lastly, the trunk is used as firewood. that are over-ripe, or rotten, and have to temper. turned acidic. In the Visayas, the paog sangsang, is that piercing itch that goes Pita’s lambanog (sasang tuba of the Kapampangans) is made to the head through the nostrils, due to the from the sap of wild trees, usually strength- strong smell of the powder, or fumes of the Ethno-histories collected by Luther ened—and given a red color—by the addi- mustard, or the smoke of strong tobacco, Parker in the early 1900s, already mention tion of ground tungug or lawaan bark. The when it is sniffed or chewed; or strong wine a robust tuba industry in Minalin and tuba made from coconut palms is consid- when it is sniffed and goes up to the head; Sexmoan (Sasmuan). Orani town, formerly ered better and a profitable item of trade; simsim, to taste a little, to test, like part of Pampanga and now within Bataan, it is distilled into alak which is of course wine from a new vat; used to have large tracts of kasasán (sasá sold at a much higher price than oil, vin- sirí, highly effective, quickly effective, groves). Today, tuba is still produced in this egar or nuts. very active element, like strong wine, etc.; town but in smaller quantities and prima- The purity of tuba is likened to gold, tiquis, the delicious taste of tuba (sasa rily for local consumption only. Tuba, and is described as dalise (dalisai), delise palm wine). Thus: Anggan mayumung lambanog and basi have basically the same (or delisai); madelise refers to either pure tiquis, malda lang capapanic, ing balang process of production throughout the ar- gold or pure wine. Ganðo is spoiled/rancid micatictic, non ela paimburis, literally, chipelago. But nowadays, tuba is usually wine or vinegar. “In time of prosperity, a man has many made from coconut flower sap instead of Other terms related to this old tradi- friends, but in times of hardships, friends from sasá,. In Tayabas, a town in Au- abandon you.” Mipaluc alac, refers to a rora (once part of Quezon Province, for- heavy drinker; pataramán, is to merly named Tayabas Province) which strengthen an iron tool with a steel was once part of La Pampanga, festive edge, which also applies to the one who occasions will not be complete without is enlivened, like with a glass of liquor; the traditional tagayan or wine-drink- magpatarám, reciprocal, like drinking ing session using a single glass and re- liquor to become enlivened, bold, brave. peated swigs of lambanog, the fiery co- anglab, to eat meat or fish without conut-based liquor. This liquor is a ma- rice, but drinking wine; opposite to jor source of income among Tayabas anglop, which is to sip or suck/sup, like residents, one of whom was Joselito eggs, gruel, soup, anything liquid except Mallari, owner of Mallari’s Distillery, a wine, which is alduc, to gulp. Anglab, big wine factory in Barangay Lalo. purposely, in order to be able to drink Lambanog, also called coconut vodka, more; they take it from the Tagalogs, is created from the dripping sap called who, to engage longer in a drinking bout, tuba from the coconut flower. The eat without rice, in this way excite more sweet and frothy tuba—a rejuvenating their appetite. drink in itself—is prepared through the anyan, manyan, minyan, to eat vi- natural process of fermentation and dis- ands without rice, even if there is rice, tillation, producing the chemical-free because he does not like it; the phrase lambanog, the most sought-after prod- “Obat makanyan ka?” which roughly uct of Tayabas. The Mallaris of this town means “Why are you like that?” may link their family history with the native have evolved from this word. paniti, to liquor, formerly known here as Pita’s abstain, to turn aside, to avoid materi- lambanog. Their old distillery stove in the tion include: ally and formally, like Maniti cang first factory has the year 1918 engraved on tungga, to steal the sap/tuba of the micasala, minum danum, “Abstain from it. The recent Asian Ethnic Food Festival palms/sasá. sinning, from drinking water.” classified lambanog, advertised as the agum, to mix, to compound, like wine sauac, one who consumes, eats, or “flower-based liquor,” as an “ethnic drink.” with oil. drinks to excess, since it does not cost him In another trade festival in Germany last alac, the liquor, drawn out, distilled, anything, nor pains him in any way. Seuacan, August, 2003, lambanog was chosen as the like coco wine now known as lambanog; the food, or the farm wherewith or wherein Most Trendy Product. water from flowers, alak sampaga, while he behaves in such manner. This apparently pialakan, is the residue; grape wine is com- reflects the abundance of food harvest in Early 18th Century words related to tuba monly called alac. Antonio Pigafetta, in his the region—thus the present term sauang visit to Suluan in the Visayas, was presented which applies to the unexpected abundance The tuba of today refers to the flower with a jarful of what he recorded as uraca of things like food in a fiesta. sap from sasa palm or ngungut (coconut) – that is, arak, the Malay-Arabic word for tacao, inordinate appetite, or desire to which is then fermented in jars for making distilled liquors. Any drink diluted with eat and drink, gluttony, including the greed lambanog. In 18th century Kapampangan wine, etc. is called as dénuman mon alac, for a farm, and further constructions include vocabularies, tuba is defined as a small fruit which is called lambug in the Visayas. manacao, to steal; mapanacao, thief; with which to daze (intoxicate) fish in the yoyo is the sasá palms which are close capanacauan, thievery, stealing; mipanacao, water as a method of catching it. Another to producing tuba. stealing from one another, and mipanacao, word with related etymology is tubas, the sagúm, to mix drinks (not make a mix- with company, it is said, either if they speak term for liquor/sap becoming acidic; fur- ture), v. g. liquor and beverages, or one of things concealed, or if they are fond of thermore, katubasan, ketubasan are also wine with another kind, in a way, of the stolen things. Moreover, mipanacao lang in the ancient dictionary, referring to the same kind, and therefore, not of water with misabi, or, mipaglolao, They talk, or are vinegar that has become, and remains, wine, because they belong to different courting stealthily/ in secret.

116 Pampanga was once tobacco land SAN ISIDRO TOWN IN OLD PAMPANGA (NOW NUEVA ECIJA) USED TO BE CALLED FACTORIA BECAUSE IT WAS THE CENTER OF TOBACCO PRODUCTION AND PROCESSING By Lino L. Dizon A. Castro

The Alcaldia de (Province of ) days that Pampanga was among the first Tobacco (Nicotiana tabacum) was im- Pampanga, then still in its massive geo- provinces where the monopoly was imple- portant both to Filipinos and Spaniards, graphical state (extending almost from mented. It also coincided with the chop- which motivated the government to take coast to coast in the midsection of Luzon ping up of the gargantuan La Pampanga. an interest in it as a revenue-raising mea- Island), figured prominently in two events, Due to the government’s policies on agri- sure. Tobacco was so widespread that even which were climactic in the socio-cultural culture, dominated by tobacco, the prov- indio women and children smoked or makeup of the entire Philippines at the turn inces of Nueva Ecija and Nueva Vizcaya chewed it. of the 18th century, or what historians mark were created at that fin de siècle. (A third Gregorio Sancianco y Goson, in his El as Fin de Siècle. province, originally planned as Nueva progreso de Filipinas (Madrid,1881), de- One was the British occupation of Ma- Cuenca in the 1830s, materialized as Tarlac scribed how tobacco was planted in Nueva nila from 1762 to1764, due to the larger Province in 1873.) Ecija (most likely Gapan): war between Spain and England. The Span- The pueblo of Gapan, in the newly cre- iards, under Gen. Simón de Anda, relocated ated Nueva Ecija (although it remained a “(It)…begins with the preparation of a to Bacolor, Pampanga which served as their Kapampangan-speaking town), was the seat seedbed in a small plot of ground in the sanctuary and provisional capital. of the Tobacco Monopoly in the whole of months of September and October, cover- Seven years later, in October of 1771, Central Luzon. ing it with rice straw or any dry leaves. with Simón de Anda now the colony’s offi- Although it was also Simón de Anda who While the plants grow to a height of one cial Governor-General, the province again initially conceived the monopoly to aug- span, the land where they will be trans- figured prominently when it became the ment the government’s depleted coffers planted is tilled in December and January scene of the initial secularization of par- after the British Occupation, it was Gover- ordinarily and sometimes in November and ishes, i.e., when Spanish government forces nor-General Jose Basco to whom the mo- February. When this is done and the plants evicted Augustinian friars from their par- nopoly is credited. have taken roots, the soil between the ishes to install native clergy. Why tobacco? It was a joke among the young plants is cultivated with a spade or A third event, with again Pampanga fig- Spaniards at the time that indios had plow, leaving furrows in the space between uring prominently, is generally forgotten. learned to smoke before they learned to the plants.” This was the Tobacco Monopoly of 1782. Due think. On the other hand, an Englishman to the depletion of its treasury, the Span- asked an indio in the 1850s if the “Span- In his memorias of 1850, Governor-Gen- ish colonial government decided to increase iards smoke these vile brands of cheroots eral Rafael Díaz Arenas identified the de- its revenues by controlling the production to any extent?” and the latter’s curt reply finitive steps or phases of operations in the of tobacco. It is a little-known fact nowa- was “Smoke them? They do nothing else day implementation of Tobacco Monopoly: and night!” colección, fabrica and administración .

117 Women were preferred as workers in tobacco factories (G. Fernando)

Colección was the purchase of tobacco By the way, most of the workers in the market: Alhambra and Tabacalera. Later, leaves from contracted farmers. When Gov- factoria or fabrica were women, and this competing brands included Coronas, ernor Basco announced on December 13, persisted even after the collapse of the Bellezas, Panatela, Sumatra, and the cel- 1781 that the government was assuming monopoly by 1890s. It was an early Mexi- lophaned (to distinguish them from the control over tobacco manufacture and can administrator who had recommended naked or ordinary) Presidentes. These are trade in Manila and the provinces of Tondo, women since he thought that women would actually variations of how the Spaniards had Cavite, Batangas, Tayabas, Laguna de Bay, do the work with greater care and perfec- classified tobacco into cigars, cigarettes Pampanga, Bataan, and Bulacan, the town tion and with less risk of fraud. Anna and snuffs: colorado (or cigarro, puro or of of Gapan was identified as the first site of D’Almeida, in her book A Lady’s Visit to pure color, clear, and less firm), colección, which meant tobacco harvests Manila and Japan (1863), described a ciga- cucarachero or de cucaracha (a snuff, not from Gapan, Cabanatuan, Santor, rette factory in the arrabal of Binondo, shaped), vinagrillo (flavored aromatically), Bongabon, Palosapis, Tarlac, Magalang, and which might also apply to the factoria of and tabaco de regalia (of high quality, or San Miguel de Mayumo, in the northeast- San Isidro in Nueva Ecija: how Alhambra and Tabacalera brought it ern section of the old Pampanga. into the Philippine market as Corona). Fabrica was the manufacture of leaves You walk down the middle of these gal- Eventually, the monopolio de tabaco into cigars, cigarettes (cigarillos), and snuff leries, where at long low tables on each encouraged banditry and smuggling activi- (rapé). San Isidro, another Nueva Ecija side the women work, seated upon mats ties. Contrabando, or smuggled goods, town that used to be part of La Pampanga, placed on the ground. The noise is very which started with tobacco, crept into the was formerly known as Factoria, since it deafening, for each female is provided with vocabulary of almost all Philippine lan- was where tobacco was manufactured. a stone, about the size of a large lemon, guages and dialects. The resguardos, or the Instrucciones generales covering the opera- with which she beats the leaves continu- police tasked with the control of tobacco tions of factories from 1782 to1818 enu- ally, reminding one of cooks beating beef- smuggling, became abusive and were merated the manpower requirements in a steaks. When the “coat” is thus prepared, dreaded during those times. No one was factoria: dobladoras and envolvedoras they put a quantity of small chopped-up spared from the “tobacco epidemic” and (those who rolled cigars and cigarettes), tobacco in the center, a little gum on the tobacco-related paranoia. Even the cortadoras and torcedoras (those who edge, and then roll it very adroitly till it Negritos of Patling and Upper Pampanga, clipped cigar ends or twisted them to a assumes the desired form, after which the were not spared from harassment by point), niveladoras (those who checked the small end is nearly tapered off. resguardos, who had suspected them of weight of cigars and cigarettes), and smuggling tobacco. The saintly Recollect recontadoras and encajilladoras or The third aspect of the Tobacco Mo- friar, Fr. Juan Perez de Santa Lucia, hero- encajonadoras (those who counted, packed nopoly was administración, which was the ically fought for their release from deten- and boxed cigars and cigarettes). The fac- sale of manufactured products. tion in the 1850s. tories also employed a variable number of Kapampangan writer E.Aguilar Cruz in his The abolition of the Tobacco Monopoly clerks, porters, security guards, and all- 1958 article “A Guide to Cigars” wrote that led to the mushrooming of many small pri- purpose servants. vate cigar and cigarette factories, which two brands had dominated the Philippine has sustained this bad habit of natives—one of Spain’s enduring legacies. 118 nce upon a time, the Kapampangan region was a fully functioning, indepen- dent nation. Then History intervened. Today, four hundred years after colonizers Oaltered our destiny, Kapampangans find themselves part of a larger nation called The Philippines—an evolving aggrupation of many varied cultures still in search of common ground.

e can no longer force the hands of time to undo what history has done. Our heroes and martyrs laid down their lives to bring all these regions together as one Wnation. In other parts of the world, regions that attempt to break away from the nation suffer tragic consequences. However, in our desire to hold ourselves to- gether as one nation, we must never try to erase the individual cultural identities of regions.

eing a nation does not mean creating a new cultural identity out of mixing, assimilating or subordinating different regional cultures. Instead, being a nation meansB acknowledging and respecting these cultural differences and finding the common thread that runs through all these varied communities. We have enough common traits, common history and common destiny to unite us and make us One Nation.

he only way to define and strengthen the cultural identity of the Nation is to define and strengthen the cultural identities of the many communities that com- Tprise it.

ONE NATION, DIFFERENT CULTURES, MANY LANGUAGES.

A Message from The Juan D. Nepomuceno Center for Kapampangan Studies

119 OFF THE PRESS SOON

VOCABULARIO EN LA LENGUA PAMPANGA BY FRAY DIEGO BERGAÑO, OSA Dictionary in the Kapampangan Language (1732) translated by Fr. Venancio Samson and published by the Center for Kapampangan Studies in cooperation with the National Commission for Culture and the Arts (NCCA)

ARTE DE LA LENGUA PAMPANGA BY FRAY DIEGO BERGAÑO, OSA Grammar of the Kapampangan Language (1729) translated by Fr. Edilberto Santos and published by the Center for Kapampangan Studies

ALAYA: KAPAMPANGAN RESEARCH JOURNAL ISSUE NO. 4 edited by Prof. Lino L. Dizon PHILIPPINE RURAL DEVELOPMENT AND INDIGENOUS COMMU- MABALACAT IN MY MIND NITIES: Aytas and the Sacobia Project by Cid Reyes by Eduardo C. Tadem, PhD LUBAO: CRADLE OF KAPAMPANGAN CIVILIZATION THE CASE OF SINUKWAN: A PRELIMINARY TRANSLATION STUDY A Review by Robby P. Tantingco by Emerson M. Sanchez GLORIA: REKINDLING A LONG-LOST LOVE FOR TRANSLATION HOW TRADITIONAL SOCIETIES OF THE PHILIPPINES OVERCOME (A Review of Gloria: Roman Leoncio’s Kapampangan Transla- NATURAL HAZARDS tion of Huseng Batute’s Verse Novel, Lost and Found) by Jean-Christophe Gaillard By Jose Russell S. Arador ZAMBAL TINA, ZAMBAL BOTOLAN, ZAMBAL BOLINAO, COMMENTARIES/ ILOCANO, TAGALOG AND KAPAMPANGAN : A COMPARATIVE DISSERTATIONS STUDY THE FILIPINO PEASANT IN by Fr. Edilberto V. Santos THE MODERN WORLD: THE BEGINNINGS OF TARLAC PROVINCE CONTINUITY AMID CHANGE by Lino L. Dizon by Eduardo C. Tadem, Ph.D. NUEVA ECIJA: From a Military Commandancia To A Provincia [Ph.D. dissertation at the by Cesar C. Baroman Southeast Asian Studies ANG PAGBUO NG PROBINSIYA NG BULAKAN Programme, National Univer- by Jaime B. Veneracion sity of Singapore.] REVIEWS HERO OR TRAPO: Thoughts ANG MANUNULAT NA LUMUWAS PERO NANATILI SA and Assessment on a KINAGISNAN: Panayam sa paglulusad ng librong COMING HOME Kapampangan National Hero AND OTHER STORIES by Michael Chua ni Bienvenido Lumbera THE KAPAMPANGANS: SPEAKERS, SURNAMES AND IDENTITY Reviews of Dr. Priscilla C. Viuya and Robby P. Tantingco VIEWS FROM THE PAMPANG AND OTHER SCENES/SCENES FROM A BORDERTOWN AND OTHER VIEWS: A Feast of Mabalacat by Jose Victor Z. Torres

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