VIEWS FROM THE PAMPANG

A LEADING ACTOR TO LEAD THE COUNTRY. Rogelio de la Rosa...but is he qualified? ca. early 1960s.

The Philippine Presidency, it is said, has occupational hazards that could kill. After all, three of our presidents have died at work. Yet, then, as now—the position remains as the ultimate aspiration of all Filipino political leaders, for the immense power that the office brings and glory it represents. The 1961 Presidential Elections put to fore the qualifications of the aspirants—the first, the incumbent president Carlos P. Garcia (Nacionalista), the second—the incumbent vice president Diosdado Macapagal (Liberal), and the third, a movie star-turned-senator, Rogelio de la Rosa, an Independent.

It was easy to deride Rogelio “Roger” de la Rosa for his being just an ”artista” , viewed in the light of the silver screen as a leading man, which he was, some twenty years ago. The son of Feliciano de la Rosa and Rosario Lim, he was born on 12 November 1916 in Barrio san Jose de Gumi in Lubao, Pampanga. His paternal grandfather , Francisco de la Rosa, was a Spanish surveyor, while his grandmother, Marciana Dariano was an Ilocana from La Union. Everyone knew too, that the 45 year old presidential bet had been at political odds with Diosdado, his own brother-in-law. (Macapagal was married to Purita, Rogelio's sister, who died during the war).

Dela Rosa’s first and only political experience was when he ran for the Senate of the Liberal Party and won—heavily supported by fan votes. Because of his background, he was looked at as “non-intellectual” (he went to Lubao Institute and finished Liberal Arts from Far Eastern University) . His followers, however, were quick to point out that even Magsaysay was a “non-intellectual”; he, like Dela Rosa has a practical grasp of problems and disdains convoluted, belabored discussions. As for his fans, it could not be denied that they are certainly an articulate and potent force to reckon with--part of the common “masa”.

Moreover, during the last war, when many politicians were collaborating with the Japanese-sponsored government, Dela Rosa was working as a fighter of the underground army; this he repeated when he volunteered to go to Korea to join hands with the United Nations peacekeeping forces there. As Magsaysay’s labor adviser, Dela Rosa was valued for his troubleshooting skills in resolving agrarian and rural improvement issues.

As Senator-elect who topped the polls with 2 million votes, Dela Rosa also had an enviable record, sponsoring a law to condemn the illegal appropriation of public streams and rivers by rich fishpond owners. He was known for making on-the-spot visits to the backwoods to as a way of showing deep concern for the common tao’s problems. It is interesting to note that Dela Rosa’s campaign seal shows a salakot with a pair of bakya (wooden shoes) , underlining his pro-masa approach.

To this day, many believe that Dela Rosa could have been an apt leader for the country in 1961 with his social and political thinking that tends towards egalitarianism. If he had not given way to Macapagal, he could have, they say, ended the heavy-handed domination of politicians, by his institution of a regime that was truly mass-based, ethical, competent and honest. Then he would have also been irrefutably—the world’s most handsome President!

LOTIS IS THE KEY.Versatile Kapampangan-American artist parlayed her beauty beauty pageant credentials into a successful stage and film career, until she made a life-changing decision to move to the U.S. ca. 1978.

The career of Maria Rica Baluyot Key (aka Lotis Melisande Key) speaks volumes about her multi-facetted gifts that has served her well in diverse endeavors—including coping with the complexities of showbiz life.

Her mother was Luz Nolasco Baluyot, a popular radio personality in the 1930s who went by the nickname “Mitzi”. The Baluyots traced their ancestry to Guagua and the Kapampangan-speaking towns of Bataan. Mitzi’s father was Jose Baluyot, a former governor from Orion, Bataan. Jose’s brother was Sotero Baluyot, Pampanga’s eminent engineer-governor from the 30s.

Mitzi was first married to Arturo Ortiz, son of the Philippine Secretary of State who tragically died at Fort Santiago during the War. She married a second time, to Warren Bryan Key, a descendant of Francis Scott Key, lyricist of the U.S. anthem "Star Spangled Banner".

Their daughter, born in 1949, would become one of the most talented personalities of Philippine entertainment—Lotis Key. Lotis was raised in Pasay City, and her beautiful Filipina-American features were evident at an early age, which opened doors to modeling and beauty pageantry.

Her first foray was in 1967, when she was selected as Princess Royale de Quezon City. Later in the year, she competed in the 3rd edition of the Bb. Pilipinas Contest to determine the country’s delegate to the Miss Universe Beauty pageant. Just 18 and a student of St. Paul’s, she placed third in the national tilt won by Cebuana Pilar Delilah Pilapil.

Two years after, Lotis joined the search for “Romeo and Juliet of the Philippines”, a promotion to drum up interest in the 1969 Franco Zefirelli movie. She was named “Juliet” to Victor Laurel’s Romeo. In 1971, she joined “Miss Aviation” and topped the contest too.

While joining contests and walking fashion show ramps, Lotis was also busy making TV appearances and performing on stage as an actress. With Hilda Coronel, she was cast in “Manigong Bagong Taon” a Channel 5 New Year special, directed by Lino Brocka. On the theater circuit, she was in the play “The Crucible” where she had a daring kissing scene with veteran Vic Silayan. She was a mod nun in “Cisco”, a singing country girl in “Carousel”, and a body-baring lead in “The Prime of Miss Jean Brody” in “Carousel”.

Pretty soon, movie producers were knocking on her doors, convincing her to try the movies. After doing a bit part in the 1971 movie,”Stardoom”, she was noticed in “Ang Mahiwagang Daigdig ni Pedro Penduko” (1973).

But it was in “Dalawang Mukha ng Tagumpay” that she made her mark, earning her a FAMAS Best Supporting Actress nomination in 1974, a feat she also repeated in “ Ibigay Mo Sa Akin Ang Langit” (1975). Lotis had a starring role as a circus performer in the movie, “Lady Luck” (1975).

Lotis became Dolphy’s favored leading lady, appearing together with the Comedy King in box-office films like Captain Barbell (1973), Fung Ku (1973), Facundo Alitaftaf (1978), Darna, Kuno? (1979), Max En Jess (1979) and Bugoy (1979). Soon, the showbiz world was a-buzz with the Lotis-Dolphy romance.

In 1986, Lotis made a drastic decision to get away from the tiring drama of Philippine showbiz. She moved to the United States to start life anew. With her well-rounded experience, Lotis found work in theater, radio, corporate shows, TV commercial and industrial video productions as a voice talent.

She not only rediscovered her faith by becoming a Christian evangelist but she also rekindled her passion for the theater. She became a playwright, director and producer, a job that took her across the U.S. and Canada. Lotis next shifted to literary writing, resulting in two published novels, “The Song of the Tree” and “A Thing Devoted”.

Finally coming to terms with her past, Lotis married Bambi Kabigting, a former Ateneo Blue Eagles and Crispa Redmanizer basketball ace. She and her family are settled in Minnesotta, happily living a simpler, contented life-- away from the public’s prying eyes, and far removed from the glamorous, but often-complicated world of showbiz that once hailed her as a star.

FR. SANTIAGO BLANCO, the last Spanish Augustinian priest of Pampanga, as a young priest. He was sent to Pampanga upon his ordination in 1928 and stayed on, long after the Order let go of its parishes. H dies in Bamban in 1993. Courtesy of Monsgr. Gene Reyes.

No other missionaries had more impact in the creation and development of provinces than the Augustinian frailes that first arrived with Miguel Lopez de Legazpi tour islands in 1565. Just 9 years later, 1575, the Provincia del Santissimo Nombre de Jesus de Filipinas was already in place to manage effectively the affairs of the missionaries in their pastoral turfs.

To their credit, the Augutinians founded 250 parishes—the most by any order, and 22 of these were in Pampanga. Some of these missions include Lubao (1572, founded by Fray Juan Gallegos), Betis (1572, Fray Fernando Pinto), Mexico (1581, with Fr. Bernardino de Quevedo and Fr. Pedro de Abuyoas as the first priests), Guagua (1590, Fray Bernardo de Quevedo), Candaba (1575, Fray Manrique) and Macabebe (1575, Fray Sebastian Molina).

The product of their missionary zeal resulted in many achievements that contributed to the advancements of Pampanga towns. Great builders all, they designed and constructed some of the most beautiful churches in the country—Betis and its baroque decorations, Mexico and its cimborio, Bacolor—said to be the most beautiful in the province, and Lubao, the biggest of all Pampanga churches.

From building grand churches, the Augustinians also founded th schools or escuelas—parochial centers of learning—in Bacolor, Betis, Lubao (Estudio Gramatica later Colegio de Lubao, 1596) and Candaba (Estudio Gramatica, 1596). They also became the first mentors of students, as they became more adept at the local language.

It was the Order that put up the first Augustinian printing press in the country that published pioneering printed materials—from grammar books, dictionaries and novenas. Augustinian friars like Bacolor founder Fray Diego Ochoa, authored the first Arte, Vocabulario y Confesionario en Pampango while Macabebe’s Fray Tallada wrote the first published Kapampangan book--Vida de San Nicolas de Tolentino (1614).

Among the Augustinians were erudites like Fray Guillermo Masnou, who made a study and an inventory of the herbal plants in Pampanga. Fray Antonio Llanos was taken by Mount Arayat’s curious shape, its flora and fauna, and the rivers that flowed from its core, inspiring him to study Pampanga’s mythical mountain.

As a result of their effective evangelical labors, the Augustinians were allowed some autonomy by the Vatican, with little interference from the diocesan bishops in the supervision of the fledgling churches and the administration of the sacraments. Pampanga thus became a showcase of the Augustinians’ missionary work all throughout the Spanish colonial period and beyond.

The parishes of Lubao, Betis, Sasmuan, Porac, Minalin and Sto. Tomas continued to be administered by the Augustinians well into the first half of the 1900s; the last town to go was Floridablanca, whose last Spanish parish priest was Fray Lucino Valles, founder of the St. Augustine Academy in 1951. Other chose to stay here permanently long after their order's duties were over.

Such was the case of Fr. Santiago Blanco, a true blue Spaniard, fondly called Apung Tiago by his Kapampangan constituents. Ordained in 1928, Fr. Blanco was assigned to various towns in Pampanga, including SantoTomas, Betis and Porac. He was responsible for the repainting of the church interiors of Betis during his 1939-49 term. His next assignment was Porac where he served as parish priest and Spiritual Director from 1950-1959.

When the Augustinians let go of their last remaining parish in Pampanga, Fr. Blanco requested to be left behind. In 1963, his application to become a secular priest was granted by the Holy See. Fr. Blanco moved to the newly created Diocese of Tarlac and became an honorary Monsignor and an Episcopal Vicar.

Fr.Blanco took residence in Bamban until his passing in 1993, his lifeworks in Pampanga a testament to the unflagging Augustinian missionary heart and spirit.

CHOO-CHOO TRAIN, A-CHUGGING DOWN THE TRACK. Passengers at the Dau Station in Mabalacat, wait to board a a train to Magalang, via a spur railroad track. ca. early 1920s.

Pampanga’s historic train stations have been in the news lately, most recently with the announcement that the old Angeles Station along Villanueva St. will be fully restored by 2016 through the generosity of a local benefactor. Much earlier, the heritage-conscious city government of San Fernando rebuilt their very own San Fernando Train Station located at the Brgy. Sto. Niño, with the assistance of the Tourism Insfrastructure and Enterprise Zone Authority (TIEZA). Since then, the train station has become a must-see tourism landmark.

The train stations of Angeles and San Fernando, along with those of Apalit, Sto. Tomas and Mabalacat, were part of the second portion of the Manila railroad line inaugurated on 22-23 February 1892 by Governor-General Eulogio Despujol and Manila Archbishop Bernardo Nozaleda . The province was thus connected to Manila and Bulacan through these “iron horses” that eventually were expanded all the way to Dagupan.

By the 1920s and 30s, under the American regime, the Manila Railroad Co. had a flourishing transport business that promised safe travels on air-conditioned coaches at low-express charges. Connecting trips to Baguio were arranged through the Benguet Auto Lines at Damortis—for only Php 14.33, one way (1929 rate).

Both San Fernando and Angeles stations hold special historical significance for Filipinos. San Fernando was where Dr.Jose Rizal debarked on 27 June 1892 for a quick visit of the town; it was where he also boarded a train to continue his trip to Bacolor.

The stations also figured prominently in the infamous Death March of World War II. The railway station in San Fernando was the end point of the march of Filipino and American soldiers. Here, on April 1942, they were loaded on trains that took them to Camp O’Donnel, Tarlac.

On April 10, the packed trains reached the town of Angeles where patriotic residents were on hand to surreptitiously hand out food, water, sugar, medicines, milk, cigars and other provisions to the hungry and weary soldiers. Brave Angeleños showed their support by keeping pace with the trains up to Dau Station, some 4 kilometers away.

After the War, the lines of the Manila Railroad Co. were rehabilitated and its major services restored. The trains were modernized, their steam engines replaced by diesel. By the mid 50s, one could enjoy all the cozy comforts and convenience of the railway from its clean berths to delightful meals either in the coach or in the dining car.

I remember that as late as the 1960s, my father used to save on his car trips by taking the train at the Mabalacat Station near the Clark entrance, to visit my aunt in Manila. He would get off at the final stop in Tutuban, and just take a jeep to Herran, where my aunt resided. Sure, it took longer, but it was more cost-efficient, and definitely more scenic!

Today, the Mabalacat Station still stands but the dilapidated structure is now home to informal settlers. Hopefully, the local government will find merit in restoring the station, in the same way that San Fernando has successfully rebuilt theirs and declared by the National Historical Institute as an “Important Cultural Property”.

Soon, Angeles, with the help of businessman Reghis Romero II, will have theirs too—complete with a glass-enclosed museum, an operational miniature railway, and a park. By saving these stations, we would also be saving a part of our national railway history

A CASE OF BACK-STABBING.. The cold-blooded murder of Constancia Pineda was perpetrated by her neighbor and supposed-friend, Avelina Teodoro of San Fernando. Both were just 16 years old. Inspite of her youth, Avelina was meted out a life sentence. From Graphic Magazine, Dec. 1929.

Poring over the files of some of the most sensational crimes of the past decades, I could not help but notice the involvement of Kapampangans in several high-profile cases—both as victims and perpetrators. I was horrified at the 1964 kidnapping of Maryknoller Cosette Tanjuaquio of Guagua in the hands of Orador Pingol and Nomer Jingco, who hid her in a pit for 83 days, and appalled at the still- unsolved "chop-chop" murder of Lucial Lalu of Candaba. Then there’s Jaime Jose, son of a prominent Kapampangan doctor, who was electrocuted in 1972 along with 2 others, for the crime committed against actress Maggie dela Riva’s virtue.

Going back even further, I dug up a 1929 news report of a gruesome murder committed by a Kapampangan. It was shocking enough that the offender was a woman, but worse still that she was but a girl of 16!

The full account on a December issue of Graphic Magazine reads as follows:

Sixteen year old Avelina Teodoro, of San Fernando, self-confessed murderer of her classmate, Constancia Pineda, also 16 years old, broke down when the sentence sending her to prison for life was read to her. Last September, Constancia’s body was found on the grounds of the Arayat Elementary School, pierced with a score of knife wounds.

After some difficulties in the tracing of the murderer, the fingerprints on the body and the blood stains on Avelina’s clothing and books point out to the author of the crime. At first, Avelina denied the crime, pointing to Hilario Lugtu as the murderer, but confronted with the clues discovered, she confessed to the crime.

What drove Avelina to kill her classmate? What was the motive? Was she really capable of murder?

There were so many information gaps in the news report that I did more sleuthing and searching for facts about the 86 year-old case. Surely, all the characters of the case have passed on, but my curiosity had to be satiated.

An online search yielded a transcript of an appeal filed by the defendant-appellant Avelina Toedoro with the Supreme Court on 12 August 1930. The documentation carried details of the crime, as the court reviewed the sentence imposed by the Court of First Instance of Pampanga on Avelina-- life imprisonment, plus P1,000 indemnity to the deceased's heirs for the crime of murder.

It appeared that Avelina had indeed a grudge against Constancia—she had been spreading shameful rumors about her, and opening her letters without her permission. This, Avelina confided to Hilario Lugtu. Avelina alleged that Lugtu told her that “he will take care of Constancia”. Lugtu also asked Avelina to take Constancia and take the road along the closed Anderson Intermediate School. It was inside the toilet of the school that Constancia’s body was found with 37 stab wounds on her body.

Two witnesses however, provided unimpeachable eyewitness accounts to the events leading to the murder. The first, Crisanto Reyes, testified that on 19 September 1929, appellant Avelina borrowed his single-edge penknife, which matched the size of the wounds on Constancia’s body. The same knife was later found in the possession of Avelina.

More damaging was the testimony of witness Maximo Bundoc, who saw Avelina and Constancia on the day of the murder. He heard “the smaller girl” Constancia saying “In this world there's no devil like one's neighbor." This, she repeated to Avelina, “the bigger girl”. Complaining of a stomach ache, Avelina convinced Constancia to go inside the water closet of the school. It was the last time Bundoc saw the “small girl” alive , for the next day, her body would be discovered.

This testimony of Bundoc corroborated the defendant Avelina;s admission that herself was in company with the victim on the occasion of the crime. It was likewise shown that a finger of the defendant's left hand had become stained with Constancia's blood, and thus her notebook had also been stained. Avelina was also seen walking hurriedly away from the crime scene, and when she was arrested by the Chief of Police Mutuc, bloodstains were noted on dress.

The Supreme Court upheld the decision of the lower court without modifications, for the crime of murder. It also upheld the imposed penalty of medium degreeuse the culprit was a woman—life imprisonment. The judgment appealed from was affirmed, with the costs of both instances against poor Avelina.

Thus ended the sad, sorry tale of the young Kapampangan murderess, Avelina Teodoro, who tried to get away with murder, but got life behind bars instead.

MIPMU KA KING GRACIA. The ivory image of the Virgin carrying the Child Jesus, is displayed on the feast day of the Purification, February 2. The image is made to hold a candle on this day. Photo:Jude Belnas.

Mabalacat, formerly my town—and now a city—will celebrate its annual fiesta from February 1-2. All the festivities will revolve around our parish church, Our Lady of Divine Grace, which had its beginnings in the year 1768, although a more realistic date is around early 1830s. The Estado General of 1879 reports that the parish was elevated to a vicariate status under the titular patronage of Nuestra Snra. De Guia most probably in 1836 .

There is a slight confusion as to who the real town patroness is. February 2, the traditional date of the town fiesta (piestang balen), is actually the Feast of the Purification of Our Lady or Nuestra Señora de Candelaria (also the patroness of the towns of Silang in Cavite and Jaro, Iloilo, where an ancient stone image of the Candelaria is venerated by the residents). There is, in fact, an old ivory image of the Virgin in the Parish, which is made to look iconographically like the Virgen de Candelaria by having her hold a candle. Surprisingly, this image is not displayed on the main altar.

However, a bell in the church tower dated 1846, has an inscription indicating that the church is dedicated to “Nuestra Señora de Grasia”( as spelled). The Augustinians have always had an early devotion to the Nuestra Señora de las Gracias (Our Lady of Graces) and it is sure that they propagated this devotion among Mabalaqueño converts; they had first established an original shrine in Guadalupe, which also shares our city’s fiesta date.

To add to the confusion, the feast of our Lady of Grace is observed every June 9 (piestang patron) according to the Catholic calendar. As late as 1930s, church records show that processions to our Lady of Grace were still being held in June, the expenses shouldered by a devout woman from Dau, Dña. Cecilia Samson.

There now seems to be a practical explanation to this date change, as explained by oldtimers. In the olden days, they recount, it was very inconvenient for the townsfolk to negotiate the dirt roads just to attend church service during June—the onset of the rainy season. So, a mutual agreement was reached between the townsfolk and the parish priest to move the date to February, when the weather was drier and better.

February 2 marks the date of the Purification or the Feast of Candlemas, to mark the obedience of Mary to the Mosaic law and the meeting of Her Child Jesus with the old man Simeon. By this event, Mary is known under the title Nuestra Señora de la Candelaria and is depicted as cradling the Child Jesus while holding a candle. The day is observed with the blessing and distribution of candles to be carried lighted in procession, a symbolic representation of the truth proclaimed in the Canticle of Simon: Our Lord is the “Light for the revelation of the Gentiles”.

The image of Our Lady of Divine Grace enshrined in the main altar was adapted by Fr. Felipe Roque from a similar image venerated in the Capuchin Church of San Giovanni Rotonda, Foggia, Italy (home of the famous stigmatist-saint Padre Pio) which he had previously visited. There is a twin image in Popayan, Mexico with the same title and representation. Traditional iconography shows the Blessed Mother seated on a throne with the Infant Jesus on her lap, arms raised in blessing.

The title “Our Lady of Grace” today is interchangeably used with Our Lady of the Miraculous Medal, as seen in a vision by St. Catherine Labouré in 1830. A pre-war photo of the church interior shows a standing statue Mary in the main altar, circumscribed by 12 stars and topped by a large “M”, consistent with the iconography of “Virgen de la Medalla Milagrosa”.

No matter the many titles, devout Mabalaqueños will always refer to their beloved Mary as “ApungGracia”, who, through all these years, has showered their homes and their families with blessings and graces, while under the mantle of her protection.

Masayang piyesta kabalen!

NOW THERE'S A WAY, AND I KNOW, THAT YOU HAVE TO GO AWAY.
Graduation photo of Mateo Castro, youngest son of my grandfather, Gerardo. 1957

(Last year, a cousin of mine, knowing my interest in our family history, turned over some documents from my aunt’s possession. Among these were my grandfather’s 1968 medical records from San Juan de Dios Hospital, which revealed a dreadful illness—colon cancer. Also included was this letter from my Ingkung’s son, Mateo Castro, then 31 years old, married wth 2 kids and settled in Baguio.

“Tatang Matt” was my Ingkung Dando’s youngest of 4 living children, 10 years younger than his next coya. Frail and sickly as a child, he was doted on, favoured if you will, and always had his own way. After graduation, he left Pampanga and hied off to Baguio to pursue a career as a university professor, and never left. Tatang Matt may have been far away from the crisis happening in our Pampanga home, but far removed—he was not, as this letter to his seriously-sick father shows.

Learning that his father was scheduled for a critical operation, Tatang Matt sent him this letter, mostly in Kapampangan, expressing his urgent request that he make a confession and receive communion before surgery. His deep concern for his father could be sensed from his firm insistence and implorings to heed his wish. It was to be the last—and most important favour that my Ingkung granted his bunso, for just a month after, he succumbed to complications from his illness.)

*******

62 Bokawkan Road
Baguio City
November 14, 1968

Dearest Father:

Mig long-distance cami cang atching Elsie uling angga ngeni e cami pa tinanggap call; emi balu nung capilan ca ma-opera ania minaus na cami. Queng ma-opera ca, carin na cami muling maca auto. Queng Lunes, mibuclat na ing clasi mi; pero maniauad cung leave of absence cabang ma-opera ca.

Pagawa cune ing deed of sale na nitang lote Mabiga; pepacana queng P3,000.00, ban canita ditac mu ing bayaran cu quing registration. Paqui-firma mu niamo ban canita adala nalang Auring ding papeles at apa-register que.

Bayu ca sana pa-opera buri cu mangumpisal ca at mag-comunion. Sinabi cu cang atching Elsie queng long distance quing panintun nacang pari a buri mung pipagcumpisalan. Masanting ing macasadia ca; talagang macanian at cailangan itamu ngan macasadia tamu nung nanu man ing maliari.

Panusignan mucu sana; iyan mu ing aduan cu queca. Enapa canu sinabing Atching Elsie queca pota eca bisa; ania acu na ing sasabi quening sulat cu. Cabud manaquit lang pari a capad mu, ilabas muna iyan at nung maliari, magcomunion ca aldo-aldo anggang datang ing aldo mung operacion. Siguradung atin lang capilia queng hospital; o caya atdanan dacang communion queng cuarto mu.

Masalese cami queni. Cabud asigurado yu ing aldo ning quecang operation, canita nacami datang maca auto.

Yanamu, mapgpasican ca bang canita milabas na ing operacion mu.

Matt

(POSTSCRIPT: Mateo "Tatang Matt" Castro y Razon passed away on 13 May 1997)

CALL HER TATIANA. Tatiana Simbulan Korionoff (aka Lydia Montañez) of Arayat was one of the most exotic faces of Philippine cinema in the 1950s, owing to her Russian-Kapampangan lineage.

The bloody Bolshevik Revolution in 1917 saw many thousands of Russians to flee their beleaguered country and seek refuge in other lands. One who escaped just in time was Victor Pavlov Korionoff (b. 28 April 1902) of the city of Perm, Russia. To escape the cruelty of the Red Russians, the 17 year-old decided to flee to Shanghai, via Manchuria, along with 2,000 czarists.

Victor was supposed to proceed to Australia by sea, but some ships sunk, leaving him stranded in Palawan. He had no recourse but to go back to Shanghai, where he established a cigar business whose success was short-lived.

Back to square one,Victor decided to apply as a policeman but failed meet the height requirement. His next stop was a factory where he saved enough travel funds to find his fortune in the Philippines.

He finally found work in Negros, at the Kabangkalan Sugar Central, where he got along very well with Tabacalera officials because of his ability to speak Spanish. With him was fellow Russian, Simeon Kibanoff, whom he met on a ship in Hong Kong and who would become his lifelong friend.

Victor was assigned as a plant engineer at the Arayat Sugar Central in Pampanga in 1926. Simeon, who had by this time gotten married to Negrense Angela Parcon, tagged along with him and relocated his family to this mountain town.

The next year, Victor married a local 18 year-old lass named Marcelina Lising Simbulan, who gave him a firstborn son, Victor Jr. The rest of the brood would come in quick succession—Tatiana, Dimitri (Jim), Lydia, Jacob, Mary and Joseph (twins). Victor, a licensed electrical and mechanical engineer, built a large 2-storey house on the Lising ancestral land for his growing family, complete with a porch, a swimming pool and a bathroom with a flush toilet—a first in Arayat . At home, the family spoke in Kapampangan, a language also quickly learned by the patriarch.

Of the Korionoff children, the natural artistic bent of eldest daughter Tatiana (“Tanya or Tani”), born in 28 April 1933, was apparent at an early age. Like her homegrown siblings, she attended Arayat Elementary School and Anderson Intermediate School. There, she learned how to sing and play the guitar. It was off to Arayat Institute for her college years, and although she admitted that she was not exactly a diligent student, she finished her studies and bagged a teaching stint at her elementary alma mater.

The exotic mixed-race Tatiana never considered herself beautiful; in fact, when she joined a local beauty search—the Cinderella Contest—she placed a dismal 26th. But this paved the way for her entry into showbiz, with Royal Pictures (owned by Fernando Poe Sr.) signing her up, renaming her Lydia Montemayor and giving her small roles in “Tatlong Limbas” (1950), “Lihim ni Bathala “,“Mag-Inang Ulila” and “Maria Bonita” (1951).

Thereafter, Benito Brothers Productions offered her a contract and turn her into a full-fledged star. She was rechristened Lydia Montañez—Lydia, in honor of her foster aunt, and Montañez, from the mountain town of her birth. Her launch film--“Irog, Paalam” (1951) directed by Jose Villafranca and with no less than the established matinee idol Leopoldo Salcedo as her leading man—proved to be a success at the box office tills. Their team-up would be repeated in “La Roca Trinidad”, produced by Salcedo himself.

Her follow-up movie,”Isinanlang Pag-ibig”, in which she portrayed a woman wrongly accused of killing her loved one, was an even bigger hit and it was not long before Lydia Montañez became a byword among Filipino movie fans.

With her father growing old and needing hospital attention, the dutiful Lydia helped in financing the education of her siblings though her showbiz earnings, enabling them to earn college degrees. She also took under her wing, Dolores Kibanoff, a niece of her father’s bosom friend, Simeon Kibanoff, who had been like family to them.

On 2 April 1952, Lydia married Medardo Aquino, and gave birth to her first child, Nanette Ma. Socorro. She was followed by Medardo Jr., Agapito, Anatole, Maria Yasmine, Remegio, Katrina Grace and Gerardo. Even as a young mother, she would continue to make more movies in the first half of the 1950s, until she decided to leave showbiz behind in favor of family. Her family now lives in different parts of the U.S., and Lydia, who has reverted back to her original name Tanya, is settled with her husband in California.

PAMPANGA HIGH SCHOOL CLASS 1933 ALUMNI AND THEIR FAMILIES. Reunion. Brookside Swimming Pool, owned by Renato Tayag and family. Dated April 13, 1952

Pampanga’s premiere high school was just a little over a decade old when it graduated its classes of over 240 senior students. Some 2 decades down the road, members of the Class of 1933 gathered in a resort in Angeles to hold their grand reunion. By then, many members of this batch had established careers that for some, would flourish even more in the near future.

From this large batch, we can single out a few distinguished alumni who are certainly worthy of a place in the school’s historic roll of honor.

Leading the list is Renato "Katoks" Dayrit Tayag (b. 9 Oct. 1915/d.1985) who graduated as the class valedictorian (Rosalina Catap was the salutatorian). “Katoks” went to the University of the Philippines and earned a Law degree in 1939, where future president Ferdinand E. Marcos was a classmate. Tayag later joined his law firm as a partner. During World War II, he saw action in Bataan as a field artillery officer. He was sent off to the U.S.in 1945 to study at the judge’s Advocate School in Michigan. Tayag is well-known for his writings and journalistic feats. His most daring accomplishment was going on a forbidden journey to Red China in 1964. His written works include The Angeles Story, Sinners of Angeles, Farewell to Irian, Odyssey in Southeast Asia, At Home and Abroad and Recollections & Digression, published in 1985 while a director of the Philippine National Bank. Angeles City, his birthplace, celebrated his birthday centennial in 2015.

A batchmate who also embarked on a career in law was, Moises Sevilla Ocampo (b.27 Feb. 1916/d.1997) who gained national fame as a brilliant trial lawyer.Notonly did he have a long practcie as a legal luminary but he was also successful in politics, having been elected as a member of the Provincial Boardof Pampanga. He spent the rest of his life in California.

Choosing a different path was Diosdado F. Garcia. He pursued a career in the military, and as war clouds gather in the Pacific in 1941, he was named as an instructor in the Infantry School at Camp Murphy under Gen. Mateo Capinpin, tasked with training new military graduates. Garcia rose to the rank of a Brigadier General Commanding General of the Armed Forces of the Philippines from 1962-1963, during the term of fellow PHS alumni, Pres. Diosdado P. Macapagal.

Two classmates from the same batch became respected figures in Philippine media. The first, Jose Luna Castro (4 Mar. 1915/d.?), was an English major at the Union Theological Seminary before going to Syracuse University in New York for his Master in Journalism and Political Science degree. At one time, he was the press officer of the Philippine Embassy in Peking. Castro rose to become the Executive Editor of the Manila Times Publishing Company, which put out Taliba, Daily Mirror, Sunday Time Magazine. In 1966, he authored the Manila Times Handbook of Journalism, which has become an indispensable style guide for mass communication and journalism students today.

On the other hand, Liborio “Gat” Gatbonton made a mark in the rarefied field of cartooning during the 1940s and 1950s. he did not proceed to college after graduating from PHS at age 17. Adept with drawing, the imaginative Candaba teen submitted his first cartoons which saw print on the newspaper, Tribune. Before long, he created the popular series "Jappy Days," a comic book that satirized the Japanese rule in the Philippines. “Gat” became the chief cartoonist and art director of the Manila Chronicle owned by the Lopezes. He illustrated covers, did editorial cartoons and was the first Filipino to win in international cartooning competitions, winning the Stanvac Journalism award for 7 times!

On the distaff side, Dr. Evangelina Hilario-Lacson, who counts nationalists, patriots , writers and poets among her family, became the leading light of Pampanga in the promotion of Kapampangan writing. She taught English and Literature at the Far eastern University for 2 decades and joined the government as a regional manager for the SSS. After her retirement, she rejoined the academe, holding key positions at the Pampanga Agricultural College and the Angeles University. Her book, “Kapampangan Writing; A Selected Compendium and Critique”, published by the National Historical Institute in 1984, has become a major reference of scholars of Kapampangan Literature.

There have been others from this batch who may have taken different career paths, whose lives today may not be as high-profile as others. But regardless, all are bound by a common experience of being educated at Pampanga’s foremost institution of learning, as proud graduates of the Class of 1933.

PAMPANGA TRADE SCHOOL PARTY IN HONOR OF DR. ADAM C. DERKUM
Division Superintendent of Schools. Dated March 13, 1925.

The American contribution to Philippine education began with the arrival of Thomasites – a band of American teachers who came to our shores in 1901, lured by a sense of adventure, prospects of employment in the exotic Far East. and a genuine will to serve and build a new nation.

Of the thousands that were sent to help establish a modern public school system were the Derkums, from Richmond, Wayne, Indiana. The Derkum family, however, traces their beginnings in Wales, before becoming Hoosiers in America. Born in 1874, Adam C. Derkum studied and graduated from the University of Southern California. He was appointed to the civil service on 30 December 1903.

On 1 March 1906, Dr. Adam Derkum, together with his wife Agnes, were assigned to Mexico, Pampanga. Alan became a supervising teacher, while Mrs. Derkum was put in charge of the intermediate school. In the years that followed, Dr. Derkum assumed a more prominent role as a Division Superintendent of schools in Zambales and Tarlac. He acquired a driver’s license in Manila so he could be more mobile as he attended to his duties in the region, often attending commencement exercises and giving addresses and speeches.

On 31 March 1915, for example, he was at the evening graduation ceremonies of Iba central School in Zambales, where he awarded certificates and gave an inspirational talk to the class . "The clear and distinct singing and speaking of the small boys and girls have won my heart”, Dr. Derkum said, “I believe that Zambales will be the first English speaking division of all the divisions in the Philippine Islands. Thus, it means that the larger part of the future young leaders and assembly men will be from Zambales”. Hi address was met with deafening applause, as expected.

In the meanwhile, fellow Thomasite Frank Russell White, had opened the first Philippine public high school building in Tarlac on September 1902. By 1915, the Tarlac Provincial High School had incurred much damage wrought by usage and time. Dr. Derkum, who had become the Division Superintendent of Tarlac schools, had a new building erected at a new location. Wife Agnes Derkum became a teacher at this school and was the adviser of the 1918 pioneer graduating class.

In fact, at this first annual commencement exercises of the Tarlac High held on 27 March 1918, Dr. Derkum was in attendance as a guest speaker. He was there, along with Tarlac governor Ernesto Gardiner and principal Matthew D. Ashe to award diplomas and medals to class members, led by the valedictorian, Luciano Salak.

On 1 August 1925, he accompanied Mr. George R. Summers of the General Office on a visit to Pampanga Agricultural School in Magalang.Both spent the whole day at this school observing academic classes and inspecting the nursery gardens and students’ farm reports.

Dr. Derkum took the lead in organizing various training programs for students, through teacher camps and educational missions held in different provinces. He also looked into the conduct and performances of teachers ( for example, the status of a certain Miss Gilmer was investigated by his office). As part of the American effort to promote physical education and national fitness, Dr. Derkum took part in the creation of the Philippine Amateur Athletic Federation, and became one of its founding members, that also included Manuel L. Quezon, Camilo Osias, Regino R. Ylanan and Jorge R. Vargas.

On a lighter note, Dr. Derkum found much enjoyment when he attended the week-long "Pampanga Carnival and Provincial Fair", held from 20-26 February, 1925. All the 22 municipalities of the province—including Camp Stotsenburg—participated in this exposition began with a parade of town floats presided by a princess-elect from the same. The fair was opened to the public by Princess Floridablanca, Eloisa Wolfert, after the speeches of Dr. Derkum and Gov. Sotero Baluyut.

The next year, Dr. Derkum was chosen as President and Chaiman of the Executive Committee tasked with organizing the 1926 Pampanga Fair and Provincial Garden Day, This was to be one of his last major activities as division superintendent of schools. Later in the year, the Derkums---with their four Philippine-born children in tow—returned to America where they would spend rest of their lives in California, even as the results of their life works in education continue to be enjoyed by a grateful Philippine citizenry.

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

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

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

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

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

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

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

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

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

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

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

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

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

A BLESSED HOLY WEEK TO EVERY ONE!

LIZA WITH A K. Born Elizabeth Ann Jolene Luciano Winsett, this multi-awarded actress comes from a family whose history is linked with that of Magalang town, where she was born.

The Kapampangan beauty who rose to stardom after a series of career moves was born Elizabeth Ann Jolene Winsett y Luciano on 31 October 1949, to American George Winsett and Magaleña, Josefina Luciano.

The Lucianos—together with the Cortezes and the Suings—are recognized as founders of the town, and Elizabeth’s forebears include prominent relatives like Dons Jose and Antonio Luciano, and the lawyer Andres Luciano.

She spent her formative years going to Catholic schools at nearby Angeles, first at Holy Family Academy and then to Holy Angel Academy. Her family, however, moved to Manila when Elizabeth turned 13, so she had to complete her high school at Our Lady of Loreto in Sampaloc.

Soon after graduation, she was accepted as a domestic flight stewardess at Philippine Air Lines, then took a corporate job at the Philippine Tourism and Travel Association as a tour guide/receptionist. Things became even more exciting for the teener when she joined the 1966 Bb. Pilipinas Pageant and placed second to winner Clarinda Soriano.

This exposure led to movie offers from such leading studios as Sampaguita Pictures and Nepomuceno Productions. Asked to do a script reading with director Luis Nepomuceno, Elizabeth gamely went through the audition that she thought was for a commercial. She had prepared for the reading by practicing Tagalog, a language she was not well-versed in. Elizabeth was chosen from a field of over 60 ladies, but unbeknownst to her, the reading was actually a screen test for a movie project.. destined to be a classic --“Dahil sa Isang Bulaklak”’

She was given the screen name “Liza Lorena”, and immediately was cast as Esperanza in a family drama headlined by major stars Charito Solis and Ric Rodrigo, who portrayed her parents.”Dahil sa Isang Bulaklak” was touted as the “biggest Filipino film ever in 50 years ” and the first Philippine movie in color by De Luxe. It was released in 1967 to thunderous acclaim.

Many thought that Lorena’s star would shine brighter after such an ominous start. She, however, put her budding career on hold after her relation with matinee idol Eddie Gutierrez produced a son, Eduardo Antonio Gutierrez Jr.. Just 18, the teen-age mother risked not only losing her career but also incurring the disapproval of movie audiences. However, Lorena was determined to take care of her son—who would grow up to be the equally-accomplished actor, Tonton Gutierrez.

In later years, she would also have a daughter with Honey Boy Palanca. Lorena would rebound only in 1982, in the acclaimed Peque Gallaga-helmed classic,“Oro, Plata, Mata”. The epic period film, which told of the changing fortunes of two Negros families with the coming World War II, earned for Lorena, the Film Academy of the Philippines’ (FAP) Best Supporting Actress award. In 1986, she won another Best Supporting Actress honors, this time, from Gawad Urian for the movie “Miguelito: Batang Rebelde”.

That same year, she was named “Best Actress” of the Manila Film festival, for “Halimaw sa Banga” and was also cited by FAMAS with a Best Supporting Actress nomination for “Pahiram ng Ligaya”. Her most recent Best Actress triumph came at the 9th Gawad Tanglaw Awards, for the movie “Presa”, completed in 2010.

Lorena is also a staple in many popular TV series— “Pangako Sa ‘Yo” (ABS-CBN, 200) “Kung Mawawala Ka” (GMA 7, 2001-2003) , Maria Flordeluna (ABS-CBN, 2007) , "Lobo” (ABS-CBN, 2008),“Apoy Sa Dagat” (ABS-CBN, 2013), and “Akin Pa Rin ang Bukas” (GMA, 2013). In a career that spanned 4 decades, Lorena has appeared in more than 185 movies and television shows since 1967.

Today, Lorena remains a single mother, and continues to be active in showbiz—a feat she takes pride in. One other source of pride is grandson, Carlos Philippe Winsett-Palanca, who, in 2009, placed first at the Kids Golf European Championships in Scotland.

Lorena, a Kapampangan speaker, also has remained very much in touch with her Pampanga roots—she regularly goes to her school homecomings at Holy Angel, now a University, in Angeles. She may have taken unexpected detours in the course of her life journey, but this resilient Kapampangan artist has always managed to get back on track, finding fulfillment on paths that few have chosen to travel.

LUCAS, KING OF BALUGAS, arrayed in regal splendor, in military uniform, boots, hat, and complete with military medals, badges and a swagger stick. 1922. Photo courtesy of Mr. Jim Biven.

Our history shows that Negritos (Balugas, now used pejoratively) , like other ethnic groups, have always been marginalized since the day lowlanders took over their lands and conquistadors drove them back into the far reaches of the islands, in uncharted mountains and forests. Still others were sold into slavery.

No wonder, Negritos continued to be nomadic in their ways, unable to integrate with other Filipinos. For many years, this has helped them retain their customs and tradition, including their system of leadership.

The American Thomasite Luther Parker, in his report on work among Pampanga Negritos in 1908, wrote about a certain “King of All Negritos of Pampanga”, by the name of Lazaro. But while the Negritos did have their own leadership system, there were no “kings” to speak of. Among the clans in their community, seniority is equated to authority. The oldest member of the clan was sought for advice, especially when tribal transgressions took place, and was looked up to as a chief.

It was an American general who first gave a Negrito a royal title--Gen. Johnson Hagood--who took command of Camp Stotsenburg in 1922. By the time of his assignment, the Negritos had become privileged visitors of the post, silently paddling across officers’ residences, peddling orchids, ferns, animals and cultural souvenirs like bows and arrows to the foreigners. Negritos had easy access to the camp, and Americans let them be—even gamely posing with the naked natives for photos.

Gen. Hagood was also fascinated by these dark-skinned Filipinos; he even wrote many anecdotes about them, which filled up 7 pages of his published 2-volume memoirs.

Beyond his amusement and interest, Gen. Hagood shared the belief with fellow Americans that help and protection would not come from the local government; hence, he viewed the Negritos with paternalistic concern. The one who struck most his fancy was the Baluga chief, “General Lucas”, an elderly Negrito with a dignified mien and who conducted himself with a confident air.

Gen. Lucas once presented himself to the general arrayed as “a brigadier general in a miniature khaki uniform wielding a sword” and wearing an assortment of “fantastic and humorous commendations”, one of which was a Manila Carnival medal that identified him as “a prize bull”.

Hagood proclaimed Gen. Lucas as “King of Balugas ”, and gave him a peace-keeping role in his region that was often beset by feuding Baluga tribes. He was elevated to kingship in the presence of hundreds of fellow tribe members and amidst great fanfare as Gen. Hagood conferred more decorations to the new king. He was given the titles "Defender of the Orchids” and the “Grand Commander of the Order of Dead Mules, Second Class”.

Of course, the ceremonies were all done in good humor, but Gen. Lucas took his title seriously, even posing for an “official royal photo” smartly dressed in military regalia. What his fellow Negritos felt or thought of at that time can never be known, but for the next decades, they continued to become fixtures of Clark Field, with many families settling in “Baluga Village” in the 1970s. They enjoyed perks such as free medical care (the base hospital allocated a budget for them), free food from welfare groups run by the wives of American servicemen, and they could also set up stalls to sell “authentic” souvenir weapons (actually, Manila-made).

King Lucas is now but a blur in our memory, a king of nothing with his small” kingdom” nearly gone—swallowed by Pinatubo, taken over by malls and resorts, stolen by unscrupulous land grabbers. Even the culture and traditions of his race are being obliterated and changed by modernism. Help from the government has been too long in coming. Yet, the hardiness of these simple, free-spirited Filipinos remains, but only time will tell if this is enough for their future survival.

CHILDREN GO WHERE I SEND THEE. A military officer and his wife, hold their Pampanga-born twin babies in front of their Stotsenburg quarters. It was a challenge to raise kids in a camp before it became an urbanized, self-contained community in the 1970s. ca. 1920s.

The expansive sawgrass-carpetted land northwest of Kuliat that soldiers of the U.S. Army claimed in 1902 and later named Fort Stotsenburg had, by the 1920s, become a liveable place with a growing reputation as a preferred assignment by military servicemen. The camp became a self-contained community with many amenities that improved immensely its social environment.

Many American officers were given the privilege to bring over their families to the Philippines and reside inside the camp, helping them ward off homesickness and boredom. In 1909, there were just about 95 dependent children of both American officers and enlisted men, but by the mid-1930s, almost all of the American officers came with their wives and children. The birth of American babies further increased the child population, posing several issues such as finding domestic helps as well as establishing a school system on-base.

There was no problem looking for nannies, as labor was plentiful and affordable. American officers’ wives not only had Chinese cooks, gardeners, lavanderas at their employ, but also had Filipino, Japanese or Chinese nannies and nurses to look after their babies and toddlers. When the sun went down at the camp, nannies would take their wards to the Officers’ Line (now the Parade grounds) for their regular afternoon promenade, a leisurely stroll likened to a veritable “march of nations”.

In the course of the year, a program of events was planned for the amusement and social entertainment of Stotsenburg children—ranging from birthday parties, elaborate picnics, aircraft rides at Kindley Field, animal and pet shows, to Santa’s visit every December. Christmas trees were shipped from the U.S. and were set up on the porches, which kids then decorated.

Schooling of kids proved to be a challenge in the early years of the camp as there were not enough students to warrant a full-time school. The post chapel, in the 1900s, served as a school house, and there was also a separate school for the children of African-American soldiers by 1922. Tutors were employed to teach five grades in one room , including a certain Miss Edmonds who was hired after a fruitless stint at a local Filipino school.

Two schools were built inside the camp in the 1920s—the 4-room Dean C. Worcester School (1925) and the Leonard Wood School (1929) which offered instructions from Grades 1-12. The schools flourished until the early 1930s.

It was only after World War II that the base went on a school-building spree, including an array of secondary schools for dependents. In 1949, the first Clark Elementary School for grades 1-8 was constructed near the site of the future Wurtsmith/Wagner High School site. Six sawali buildings housed Grades 9-12. Eight teachers from the U.S. arrived in June 1949 to complete the faculty.

The Clark Dependents’ School, which started in 1950, evolved into the Wurtsmith School that offered both elementary and high school level education The new Wurtsmith Memorial High School building was opened in 1961, and was designed for “tropical teaching and learning” (it was air-conditioned). On the other hand, Wagner High School, named after the WWII pilot Lt. Col. Boyd David Wagner, was inaugurated in October 1962.

During school breaks, parents enrolled their hyperactive kids at the Hobby Shop that taught arts and craft subjects like pottery and leather-tooling. Other air force kids favored swimming and going to the outdoor theaters to while their time away.

Sadly, many of these places closely associated with the growing up years of American children in the heyday of Clark, are all gone, devastated by the great eruption of Mount Pinatubo. So, too, are the children who once had a run of the place—they have moved on, with many returning home to America as adults, fathers, mothers, grandparents themselves. But for many of them, a part of their childhood remains in a once-mighty military base that became their temporary home far, far away--Pampanga’s Clark Air Base.

BABY LOVE. A Kapampangan baby from Sta. Rita wears a coral bracelet to ward off afflictions of unnatural causes, like "asug". Corals were believed to be imbued with divine powers.

Since the dawn of time, man has been warding off earthly perils— the elements, disease, and threats from fellow human beings—arming himself with tools, weapons and all sorts of ammunitions. But when the danger is unexplained and unusual, he seeks assistance from other worlds—the supernatural. Thus, in our recorded history, we transformed through rituals and incantations-- metals, wood, stone, cloth, barks and herbs into weapons against evil.

Urban legends recount how revolucionarios went to the battlefields protected by oracions (prayers) written on their undershirts. In recent memory, the fantastic escapes of the 50s Cavite gangster Nardong Putik (Leonardo Manecio) were attributed to the power of his anting-anting that he inherited Santiago Ronquillo (alias Tiagong Akyat). The government threw everything it had into capturing him, but to no avail.

Closer to home, Jose Maria Henson (1820/d.1867) of Angeles was said to possess a magic sword that can render a person immobile just by pointing the sword or throwing the sword at him.

But what about helpless babies brought out into this world? How can he protect himself from the “evil eye” of a stranger which can hex a baby’s health? “Asug” ("usug" in Tagalog) is a term for such an affliction characterized by fever, convulsion, stomach ache and colic. This unintentionally inflicted folk illness is also widely known in Caribbean countries and Mexico as “mal de ojo”It is the belief that the child’s distress can be eased by asking the stranger to rub his saliva on the baby's tummy, shoulder or forehead and other body parts before leaving the house, while muttering “pwera asug…pwera asug” several times.

In the 19th century, newborn babies were protected from maladies by having them wear coral bracelets. Corals were believed to possess divine powers. A Greek legend has it that that when Perseus beheaded Medusa, he laid the Gorgon’s bloodied head on a bed of seaweeds, turning them into corals.

In the Middle Ages, people kept pieces of corals in their purses, as talismans against witchcraft. Because of their shape, coral branches were also thought to protect the bearer from lightning strikes. For Tibetans and American Indians, the coral was an effective protection against the evil eye, while for Christians, the coral pink color symbolized the blood of Christ.

No wonder, coral jewelry became traditional gifts to both expectant mothers (for its blood-rejuvenating property) and their newborn babies (as protective amulets). Greek mothers hung coral strands on babies’ cradles while Romans strung coral necklaces for their kids. Coral was also used to prevent teething problems, which, in the early 19th century was believed to be responsible for many infant deaths. It was incorporated into teething rings to prevent bleeding gums.

Silver objects were popular christening gifts in early 18th century Europe, as the precious metal was believed not only to have purifying effects but also repulsed evil of supernatural origin effectively. Silver rattles, bells, whistles and teethers –many made with coral trims--were standard presents to children of wealthy families, a tradition that did not catch on in the Philippines.

Of course, while Catholic sacramental like medals (St. Benedict, patron against contagious diseases, is a popular choice) have replaced expensive coral and silver charms, there are still a few charms to help safeguard babies’ health and wellness.

Currently available is a “kontra-asug” bracelet that mimics those rarer and more expensive coral jewelry. Made of red plastic and black plastic beads, the bracelet comes with a red cloth sachet with a cross outside, containing seeds and dried plants, which can be pinned on the baby’s shirt. The bracelet serves to prevent“asug” as well sorcery.

So next time you bring baby out, never fear! He is not just powered by his vitamins and minerals to help build his‘resistensya’, but--according to the old folks--he has sure protection against all sorts of maledictions, thanks to a charm bracelet that even Wonder Woman would want to wear. “Pwera asug!”.

CLICK NA CLICK! Ace photographer Ricardo Reyes Twaño of San Fernando, owner-manager of Twaño Studio, the capital town's leading portrait salon in the 50s.

“Pretty as a picture!”
That’s how a person of impeccable looks is often described—no bad angles, beautiful, whether from a distance or up close. But in truth, it takes more than a pretty face to be “Miss or Mr. Photogenic”—it is oftentimes the discerning eye behind the camera that can make or break the picture-perfect shot.

Since the advent of modern photography, Kapampangans have developed an eye for this art, creating pictures that not only document and preserve the moment, but also tell stories, capture realities, instruct and inspire.

One of the earliest Kapampangan ace photographer was the prodigious Jose Ma. Piñon whose studios churned out “carte-de-visite”—small visiting card portraits popularized by the Victorian age. Piñon also took photos of the historic events in Malolos aduring the years of the Revolution.

In the first two decades of the 20th century, Pampanga’s most in-demand photographers were Ramon Dizon (1882-1956) and Julio Valenzuela (1883-1940), who had studios in Angeles. They did mostly portraits—from solo sittings to family and wedding entourages. They were part of the large Nepomuceno and Henson clans (Valenzuela, by marriage to Nemesia Henson Nepomuceno) so it was said that they never ran out of subjects to shoot!.

In the Commonwealth years, Juan de la Cruz Studio, under the proprietorship of Rogerio Lagman, rose to national prominence after being named as the official photographer of the 1933 Pampanga Carnival and Exposition.

Salon photography was certainly elevated to high art by Pablo “Bob” Razon who established a photo shop near the Manila Grand Opera along Avenida in 1946. His first patrons were Americans and their girlfriends; they could not pronounce his nickname “Pabs”, so they called him “Bob’s”, and the rest is history. Bob photographed presidents, moguls and mavens, socialites and royalties, celebrities and scions, with a long, successful career that ended only with his death in 2013. Today, he is acknowledged as the undisputed“Dean of Philippine Portraiture”.

Less well-known, but certainly just as skilled was Ricardo Reyes Twaño (b. 1922) of San Fernando. He was trained in Manila studios where he photographed personalities from Hollywood stars (John Wayne, Cyd Charisse, Harry Belafonte), statesmen (he photographed Pres. Carlos Garcia and family) plus scores of local showbiz celebrities, from Nida Blanca to Susan Roces. He set up the Twaño Studio right next to Pampanga Hotel which enjoyed quite a large patronage, especially from students amd American servicemen.

Selegna is perhaps Angeles’ most iconic photo studio run by the Pamintuans. The "home of glamour, haven of distinction" has been in service for over 60 years; its main shop was originally located along Henson St., with a branch at Sto. Rosario St. In the 50s, it specialized in glamourized portraits, family pictures, baby portraits and class pictures, with free panchromatic make-up. Today, Selegna continues to be favored by students for their yearbooks, debutantes, prom queens and kings as well as newlyweds.

Romeo V. Vitug of Guagua began a career in journalism as a photographer for many publications like The Sunday Times Magazine. His photos were often used as covers in the tumultuous ‘70s. From photography, he shifted to cinematography and earned awards for his work in many Philippine movie classics that include Brocka's "Tatlo, Dalawa, Isa", "Atsay", "Wanakosey", "Bituing Walang Ningning", "Pagputi na ang Uwak, Pag Itim na ang Tagak", and "Madame X".

In the 80s, the place to go for picture and video documentations was Mukha Photography. It was put up by Rolly Baron (his mother comes from Dau), who dropped out of Ateneo to pursue his love of photography. His first successful offerings were portraits in either color or black and white, mounted on boards. He branched out to event coverages—weddings, baptisms, debuts, reunions—which made Mukha Photography a national name.

Never has photography in Pampanga seen livelier times than now, with more and more Kapampangans taking up the camera in the hope of following the footsteps of Holy Angel alumni Yen Baet. Her husband started her interest in photography and she surprised everyone by winning First Prize in a contest sponsored by National Geographic. Today, she is ranked as one of the world’s top ten travel photographers.

Another award winner is Ruston Banal Jr., who placed third at the World Photography Organization’s Sony World Photography 2013 contest with his work, "Kuraldal". He describes his works as "visual anthropology", with focus on people and social atmosphere where culture and heritage revolve".

Then there’s Angeleño Jason Paul Laxamana, who made a big leap from photography to film, megging the acclaimed, “Babagwa” for the 2013 Cinemalaya Film Festival. It has since made the rounds of moviehouses worldwide.

Cameras have gone digital, making photography so simple for everyone to do—no more films, no more developing process, no more waiting—just point and shoot. What has not changed is the perceptive eye behind the camera, who sees more than a subject in front of him, but a picture-perfect story about to unfold.

BOMBSHELL BATHALUMAN. Lilia Dizon , who originated 'strong Filipino women roles' on the silver screen is of Kapampangan-American descent.

Today, Lilia Dizon is known as the mother of actors Christopher, Pinky and Lara Melissa de Leon. But she, too, had her time in the spotlight; she was also an actress of note, known for portraying strong bombshell beauties on the silver screen, a sharp departure from the 'pa-sweet' and demure Filipinas whose presence predominated local movies.

She was born in 1931 as Claire Strauss, the only child of German-Jew Abraham Strauss with Kapampangan Regina Dizon. Her father left the family for the U.S. in 1940, but then the war broke, preventing him from coming back. Claire was left with her mother in the Philippines to fend for themselves in Baguio.

At the height of the Liberation, she and her mother escaped the carnage of Baguio by walking all the way to La Union. From there, they proceeded to Manila to start life anew. At age 15, Claire started performing at the Lotus Theater as a singer. The next year, she was discovered for the movies by writer-director Susana de Guzman--and became known to a legion of movie fans as Lilia Dizon.

Her first lead role was in the 1948 film, “Kaaway ng Babae,” where she had to act like a man in a very physical role that required a lot of running, At 17, she married director and actor Gil de Leon, sixteen years her senior. She made her mark portraying strong women roles in movies like “Sandra Wong,” “Kandilerong Pilak” (Asia’s Best Actress award in 1954), and "Bathaluman” with Mario Montenegro, a role that showed her Juno-esque figure at its most beautiful.

After her 18 year-marriage ended, Lilia left for the U.S. in 1966 to join her father in California and acquired her American citizenship. She made amends with Gil before he died, and after his demise, Lilia married Antonio Abad, a match that produced 2 more children, Antoinette and Corrie.

She would resurface in 1974 to appear with son Christopher in the award-winning Brocka film, “Tinimbang Ka Ngunit Kulang” which would catapult her son to fame. She could not re-establish her career though, as her two young children left behind in the U.S. needed her care. Now divorced, the tough Kapampangan bombshell of the 50s is back to being Claire Strauss and is a doting grandma to fifteen grandchildren.

TOGETHER IN ELECTRIC DREAMS. The Mabalacat Hydro-Electric Plant in Sitio Bana, Dolores Mabalacat, harnessed the power of Mascup River to generate electricity. It was founded by former municipal presidente, Marcelo Tiglao. Late 1920s. Picture courtesy of Lord Francis Musni.

On the way to my elementary school, I would pass by a white building which, I was told was where our town electricity and ice came from. Every day, “Mabalacat Hydro-Electric Plant” would sound off its siren to mark the start, the middle, and end of day, scheduling our lives, signaling us Mabalaqueños when to go to work, take a lunch break and when to go home.

Such was the power of that hydro-electric plant, and that power would become more apparent when I got home. Even if we had only about 5 kinds of appliances that used electricity—a 10 year-old black and white TV, a 2nd hand ref, a jetmatic water pump, 3 stand fans and my father’s Victrola radio phono—we used them a lot, day in and day out. At a flick of a switch, we could turn day into night, be refreshed, amused by comedy shows, and entertained by music and news.

It’s hard to believe that generations long before us have lived without the convenience of electricity and have survived. I often wonder what that “aha” moment felt, when electricity finally came to light up their world, literally.

It was the capital city of Manila that first saw electric light in 1878, when Ateneo student Anacleto del Rosario paraded an electric lamp during the inauguration of the Carriedo waterworks. In 1890, Thomas Houston Electric Co. installed Manila’s first electric street lights in Escolta. It was in 1892 that the very first electric company—La Electricista—was set up along Calle San Sebastian (now Hidalgo St.) and started providing electricity three years later. Meralco (Manila Electric Railroad and Light Company) would follow in 1903.

Despite its proximity to Manila, it would take two decades before Pampanga could have its own power plants that could generate electricity from such sources as coal, natural gas, oil and later, renewable energy.

On 10 July 1923, enterprising couple Don Juan and Dña. Nena Nepomuceno opened their Angeles Light and Power Plant, a year after their ice plant venture. It cost Php 72,000 to put up, a big amount at that time, but the couple carried on with their ambitious project. It is said that when the plant engineer turned the switch on, the city was flooded with bright lights that was met with great rejoicing. The roosters crowed and the church bells pealed as children came out to play in the streets.

The plant survived the trying wartime years when electricity had to be rationed off, as well as a fire which decimated the offices in 1945 and of course, the eruption of Pinatubo in 1991. Now known as Angeles Electric Corporation after its incorporation in 1959, it is the third largest electric company in Luzon. Some portions of Mabalacat, Bacolor, and Porac are supplied by AEC.

Not long after, the San Fernando Light and Power Company was established in 1927. It partnered with AboitizPower in 2009 enabling it to supply renewable energy to its residential, commercial and industrial customers. Aside from providing services to the city of San Fernando, SFELAPCO has consumers in Floridablanca, Bacolor, Guagua, Lubao and Sto. Tomas.

Mabalacat used to have its own electric plant owned by the Tiglaos that used the run-of-the-river hydroelectric technology to generate power. In this case, the source of water flow is Mascup River which the Tiglao family owns, located in sitio Bana, Dolores. Incidentally, the family also owned a popular river resort there. Later, it was known as “Hijos de Marcelo.Tiglao Hydro-electric Plant” and it continued to operate until the Pinatubo volcanic eruption buried the river completely in 1991. In 2006, a coal-powered plant was put up in the same town, known as the APEC (Asia-Pacific Energy Corp.) Station.

Today, most of Pampanga’s electric power is distributed to towns through the Pampanga Electric Cooperative distribution centers (PELCO I, II, III).

Technology has grown by leaps and bound in ways that we can imagine, giving us countless gadgets and gizmos like microwave ovens, computers, tablets, cellphones, electric ranges and cars, electric this-and-that. It is almost impossible now to live unplugged. Only brownouts and long power outages serve to remind us that people once lived without or had limited access to electricity. Just like in the old days, we take out our candles, draw water from hand pumps, and tune in to Ingkung’s scratchy-sounding battery-run transistor radio to find out when power will be restored!

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

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

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

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

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

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

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

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

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

“Nanung asan yu?”

PUT YOUR MONEY WHERE YOUR MOUTH IS. Apeng Daldal (real name: Serafin Gabriel), left us in stitches with his distinctive oral features--and his gift of non-stop gabbing. Fan photo, 1967.

In the days of black and white TV, “Pinilakang Tabing” was a must-watch program every afternoon, for it afforded me to watch 50s’ and fairly-recent 60s movies without going to a theater.

I’ve always been partial to fantasy films, and I remember enjoying “Silveria”, “Anak ng Bulkan”, “The Magnificent Bakya” and Pomposa, Ang Kabayong Tsismosa”.

But the one that left the most impression was “MagicBilao”, an improbable story about a “bilao” that functioned pretty much like a magic carpet, taking anyone who stands on the woven winnowing basket, on an unexpected, marvelous joyride.

With Apeng Daldal as its reluctant high-flying passenger, the magic bilao helped solve a barrio crime, and saved the day for lovebirds, Dindo Fernando and Rosemarie.

To me, it was Apeng Daldal who stole the show, playing Rosemarie’s brother, Tonio—who, with his thin, gangly frame and mile-long teeth sticking out from his wide mouth, turned out to be the hero of the story. The comedian earned his screen name from his funny oral/dental features, which he used to the hilt by being a motormouth with a high-pitched voice.

He was born as Serafin Gabriel in the town of San Luis, Pampanga on 12 October 1928. At an early age, he moved to Manila, and despite his skeletal built, found work as a Divisoria kargador. Of course, he didn’t last long, so he tried his hand at working in the bod-a-bil, from the 40s-50s. He had a comedy group called “Top Three” (along with Mar Lopez and Bebing Santos) which drew crowds at the Manila Opera House.

His stage success paved the way for a TV career, starting with the 1961 noontime show “The Big Show”, supporting Cris de Vera, Sylvia La Torre and Oscar Obligacion. Apeng Daldal’s gift of non-stop gabbing and witty ad-libbing had audiences laughing for more, and soon, he was being cast in movies.

His debut was in the Susan Roces starrer, “Libis ng Baryo” (1964), that was followed by appearances in "Bandong Pugante" and "Babaing Kidlat". Sampaguita Pictures gave him his break, third-billed in 1964 production “Magic Bilao” after Rosemarie and Dindo Fernando. The comedy-romance-fantasy formula was perfect for Apeng and the movie was the takilya buster for 1965. The same concept was used in his next flick,”Walis ni Tenteng”, that practically retained the previous stars with Blanca Gomez and Bert Leroy Jr. thrown in. Again, the movie about a skinny sweeper and his magic broom was another monster hit for Apeng.

Apeng Daldal—now regarded in the same breadth as A-lister funnymen Chiquito and Dolphy, was rewarded with a lead role in “Maskulado”, (also in 1965), pitting his physique against the buffed leading man, Arnold Mendoza. He worked almost nonstop, completing film projects like “TatlongMabilis” (1965), “Mistiko Meets Mamaw” (1966),“The Pogi Dozen”(1967), ”The Son of Dyango Meets Dorango Kid” (1967) and another comedy-fantasy film, “Baticobra at Flying Salakot”(1974).

The final decades of his life were spent working in different capacities for TV, radio and films. The creative Apeng wrote scripts for various TV comedy shows like “Ayos Lang, Pare Ko” (1972) and penned the story for the film “Dobol Dribol” (1979). He was heard on radio singing novelty songs ( "Pandanggo ng Aswang", "Hoy Mamang Kaminero") , while headlining 70s-80s gag shows like “Super Laff-In”, “Trio Los Bobos” and “Cafeteria Aroma”. His last film was the Eddie Romero-directed action-fantasy, “Kamakalawa”with Christopher de Leon and Tetchie Agbayani, released in 1981.

Afflicted for years with emphysema, he passed away on 9 February 1992. He was survived by his wife Elma Modesto and 8 children. Watching Apeng Daldal’s old movies on youtube today, you can say this Kapampangan was born with a funny bone in his mouth.

SOURCES:
My Idol Comedian, Apeng Daldal: http://video48.blogspot.com/2008/08/my-idol-comedian-apeng-daldal.html
Apeng Daldal, http://www.imdb.com

*390. THE CASE FOR THE PRESIDENTIABLE DELA ROSA

*391. LOTIS BALUYOT KEY: Her Passionate Artistry, Unlocked.

*392. THE AUGUSTINIANS AMONG US

*393. TRAINS OF THOUGHT

*394. Cuts Like A Knife: AVELINA TEODORO, PAMPANGA'S YOUNG MURDERESS, 16

*395, THE MANY MARIES OF MABALACAT

*396. A SON'S LETTER TO A DYING FATHER

*397. LYDIA MONTAÑEZ: A Russian-Kapampangan Actress from Arayat

398. A Reunion: PAMPANGA HIGH SCHOOL, CLASS OF 1933

*399. A Tireless Thomasite: DR. ADAM C. DERKUM

*400. A SEASON OF SINNERS AND SAINTS

*401. LIZA LORENA: A Luciano Star from Magalang

*402. GEN. LUCAS, KING OF BALUGAS.

*403. TOTS IN STOTS: Life as a Soldier’s Kid in Clark Field

*404. Pwera Asug: BABIES AGAINST EVIL

*344. PICTURE-PERFECT: The Kapampangan Eye Behind the Camera

*405. LILIA DIZON: Kapampangan Bathaluman

*406. ELECTRIFYING PAMPANGA

*407. FISHING FOR COMPLIMENTS

*408. Comedy Through Word of Mouth: APENG DALDAL, San Luis, Pampanga