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A Study of Aurelio Tolentino's Articulation of Nationalism

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A Study of Aurelio Tolentino's Articulation of Nationalism i YESTERDAY, TODAY, AND TOMORROW: A STUDY OF AURELIO TOLENTINO’S ARTICULATION OF NATIONALISM AND IDENTITY THROUGH THEATRE IN THE PHILIPPINES DURING THE AMERICAN COLONIAL PERIOD Lily Ann B. Villaraza, Ph.D. Department of History Northern Illinois University, 2017 Trude Jacobsen, Director This dissertation centers on the importance of cultural production to the process of creating a coherent national identity and a unified political state in the Philippines. More specifically, I will examine role of theatre in relation to the general development of the nation and the state through Aurelio Tolentino’s plays Luhang Tagalog and Kahapon, Ngayon, at Bukas. The Philippines and Filipino people pose a unique case study in the formation of both a specific and coherent national identity and an independent political state space because of geography, varied cultural influences, linguistic diversity, and colonial past. Because of these factors, it is a wonder that a coherent Philippine state exists, much less the generally accepted notion of a Filipino national identity. I argue that cultural production, particularly theatre, actively championed the broader acceptance of a singular Filipino national identity and individual belonging to a collective state at one of the most critical moment in Philippine history; the exit of Spanish colonial rule, the entrance of American imperial rule, and active assertion of political independence of the Philippine Islands by and for the Filipino people. The knowledge formation and critical dialogue occurring through theatre nurtured the notion of a Filipino national identity and buoyed the possibility of a Philippine state across the diverse linguistic and geographic terrain of the archipelago in opposition to the emerging American empire. ii NORTHERN ILLINOIS UNIVERSITY DEKALB, IL DECEMBER 2017 YESTERDAY, TODAY, AND TOMORROW: A STUDY OF AURELIO TOLENTINO’S ARTICULATION OF NATIONALISM AND IDENTITY THROUGH THEATRE IN THE PHILIPPINES DURING THE AMERICAN COLONIAL PERIOD BY LILY ANN BOLO VILLARAZA ©2017 Lily Ann Bolo Villaraza A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF HISTORY Doctoral Director: Dr. Trude Jacobsen iii ACKNOWLEGMENTS I am deeply grateful for the mentorship and guidance from the following individuals through the years: Dr. Damon L. Woods, Dr. Trude Jacobsen, Dr. Maria Joi Barrios-Leblanc, Dean Rolando Tolentino (UP Diliman), Dr. Dawn Mabalon, Dr. E. Taylor Atkins, Dr. Eric Jones, Rosalina V. Idos, Robert Lunsford, Jim Giardina. I am indebted to the following institutions that allowed me to conduct research in their libraries and archives: Library of Congress, Asian Division; University of the Philippines, Diliman – Special Collections; University of Santo Tomas; National Library of the Philippines; Cultural Center of the Philippines; Lopez Library and Museum; Newberry Library; Ateneo De Manila. Deepest gratitude to those who supported my dissertation research trip to the Philippines in 2014, monetarily, materially, and/or emotionally. Justin; Jocelyn & Family; Suzy; Shabna; Leda; Delfin, Joan, & family; Maribeth; Trish & family; Ninang Shirley & Erika; Boom; Ruthie; Leezel; Auntie Pavia & Uncle Eddie; Vivian; Johann; Rick; Cindy; Sharon; Michael; K. Philip and Family; Melissa, Dens, Mateo, & Dante; Joi; Karen; Eros & Beth & family; K. Dave, A. Val, & Max; JonS; Vika; Gail; Noralyn & Tom; Mom n Tay; Lyman, Nic, & Isaiah; A. Bebeth, K. Andrew, Dom, and Ysa; A. Eden; K. Boy, A. Blanche, & Megan; K. Gerry, A. Jazz; Susan; Monet; Claire; Ange; Ed; Erick; Pete. Special thanks to my family, blood and chosen, for your patience through this process. It’s been a hard and confusing road and your love is what pushed me through. This belongs to you too. iv DEDICATION Ginang Evangeline Lopez-Delute For catalyzing this journey. Ronald Wilson Your heart was too big for this world. v TABLE OF CONTENTS Page LIST OF TABLES ........................................................................................................... vii LIST OF APPENDICES .................................................................................................. viii Chapter 1. INTRODUCTION: HAMILTON PRLOGUE ................................................ 1 The Project ............................................................................................... 4 Major Arguments ..................................................................................... 6 Limitations ............................................................................................... 9 Notes on Language and Terminology ...................................................... 11 2. LITERATURE REVIEW ............................................................................. 14 Knowledge Formation and Ways of Knowing ........................................ 15 Nationalism .............................................................................................. 20 Nationalism and the Nation-State in Southeast Asia .............. 25 Filipino Nationalism ................................................................ 28 Theatre and Cultural Production: Staging Resistance and Nationalism .. 34 Philippine Theatre History ....................................................................... 41 3. HISTORICAL CONTEXT .............................................................................. 41 Carrots and Sticks: Civil Governance and American Imperialism .......... 49 The Sedition Act (Article 292) ................................................................ 53 Free Speech, Censorship, and the Newspaper ......................................... 56 vi Chapter Page English Language Newspapers............................................................... 57 Tagalog Newspapers .............................................................................. 59 Announcements ................................................................. 61 La Patria............................................................................. 62 Censorship and Sedition ......................................................................... 69 4. THEATRE IN THE PHILIPPINES AT THE TURN OF THE TWENTIETH CENTURY ....................................................................................................... 73 A Brief History ..................................................................................... 73 Theatrical Genres .................................................................................. 76 From Zarzuela to Sarsuwela: The Filipinization of Theatre ................. 78 Aurelio Tolentino .................................................................................. 84 Biography ................................................................................... 84 Body of Work ............................................................................. 93 Textual Analysis of Luhang Tagalog and Kahapon, Ngayon at Bukas 96 5. LUHANG TAGALOG....................................................................................... 103 The Plot ................................................................................................. 106 The Characters ...................................................................................... 110 Historical Context and Textual Analysis .............................................. 115 The Bayan in Luhang Tagalog ............................................................. 142 Newspaper and Media Attention for Luhang Tagalog ......................... 144 Conclusions ........................................................................................... 146 vii Chapter Page 6. KAHAPON, NGAYON, AT BUKAS ................................................................. 148 The Plot ................................................................................................. 150 The Characters ...................................................................................... 153 Historical Context and Textual Analysis .............................................. 162 The Bayan in Kahapon, Ngayon, at Bukas ........................................... 203 Articles involving Kahapon, Ngayon, at Bukas and the shutdown of the play ................................................................ 205 Conclusions ........................................................................................... 210 7. CONCLUSION: HISTORY HAS ITS EYES ON YOU ................................. 212 Hamilton Reprise .................................................................................. 217 BIBLIOGRAPHY ................................................................................................ 219 APPENDICES ..................................................................................................... 228 viii LIST OF TABLES Table Page 1. Social & Political Hierarchy in Spanish Philippines ........................................... 43 2. Theatrical Works That Resulted in Arrests .......................................................... 83 3. Theatrical Works by Aurelio Tolentino ............................................................... 96 4. List of Characters from Luhang Tagalog............................................................. 114 5. List of Characters in Kahapon, Ngayon, at Bukas ............................................... 157 ix LIST OF APPENDICES Appendix Page A. MANUSCRIPT OF AURELIO TOLENTINO’S LUHANG TAGALOG ENGLISH/TAGALOG COMPARISON
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