By: Gil Angelo B. Manalili
OIC/ Historic Sites Development Officer I
Museo at Aklatan ni Diosdado Macapagal
Pampanga’s history can be traced back to the Spanish colonial rule established in 1571, ushering in a significant infusion of a different culture. Beyond matters of religion, one of the most notable legacies of the colonizers was the introduction of Zarzuela, a Spanish musical play that found its way to the Philippines in 1879. This art form offered entertainment to people of all backgrounds, featuring music, storytelling, and often romantic themes, serving as a means for the colonizers to organically merge with the Kapampangans. Just three years later, Sr. Alejandro Cubero and his group staged a Zarzuela in San Fernando, much to the delight of the local populace. This event marked the dawn of a prosperous era for Kapampangan playwrights, poets, and musicians, who subsequently crafted more locally inspired Zarzuelas.
The zarzuela became immensely popular among the Kapampangan community during the 1880s, marking the onset of what is often referred to as the golden age of Kapampangan literature. This cultural phenomenon also propelled various artists from the province into the limelight. Among them was Mariano Proceso Pabalan Byron, a playwright hailing from Bacolor, who introduced the very first Kapampangan zarzuela, “Ing Managpe” (The Patcher), in the year 1900. Another notable figure was Juan Crisostomo Soto, who crafted the three-act zarzuela grande titled “Alang Dios” (There is no God), captivating audiences in 1902. Felix Napao Galura, a revered patriot and leader, contributed to this literary movement with his one-act zarzuela “Ing Mora” (The Moslem Woman), now preserved in the University of the Philippines Library. Notably, the esteemed writer Aurelio Tolentino from Guagua left a lasting legacy, with “Ing Poeta” standing out as his most celebrated work. Urbano Macapagal from Lubao, the father of Diosdado Macapagal, made his mark with the play “Bayung Jerusalem” (The New Jerusalem), among many other accomplished writers in the region. These timeless masterpieces continue to be recognized as integral components of the rich tapestry of Kapampangan literature throughout its extensive history.
In Lubao, a young boy named Diosdado Macapagal, driven by the twin forces of poverty and a thirst for knowledge, found inspiration from his father, Urbano, to delve into the realms of poetry and zarzuela plays. His formative years were steeped in zarzuela, largely owing to his father’s association with Compania Lubeňa. Their humble nipa hut home was a constant backdrop for the troupe’s intensive rehearsals, where verses were honed, music was perfected, and stage performances were meticulously practiced.
Hailing from a financially disadvantaged family, Diosdado accompanied his father as they embarked on tours across Lubao, Sasmuan, Guagua, and Bacolor. Their mission was to supplement the family’s income by staging zarzuelas in various barrios. Remarkably, even at the tender age of 14, Diosdado’s teachers recognized his exceptional talent as he was pitted against the finest students in Lubao and neighboring towns in declamation contests. In a moment that would foreshadow his future greatness, young Diosdado clinched the first prize by reciting Alfred Tennyson’s poignant poem, “Crossing the Bar.”
During his high school years at Pampanga High School, his exceptional academic performance continued, and he became an integral part of the school’s official newsletter, The Pampangan, in 1926. He assumed the role of the paper’s literary editor, responsible for editing articles penned by fellow student-writers. Additionally, he played a pivotal role as a core member and organizer of Aurora ng Diwa (Dawn of Inspiration), a group consisting of the brightest students, poets, and writers during his tenure at PHS.
Following his high school graduation, Diosdado chose to pursue higher education at the University of the Philippines, enrolling in an Associate of Arts program as a pre-law track. Interestingly, literature seemed to have an uncanny way of finding him. In 1930, he became a contributor to the Kapampangan literary-cultural magazine, Ing Catimawan (Our Freedom), which had a widespread readership among Kapampangans studying and working in Manila, Pampanga, and even Tarlac. In this publication, Diosdado showcased his newly crafted rhyme poems and literary essays as a contributing writer-poet. Eventually, he was promoted to the position of section editor for poetry, where he authored and published the regular literary column called Cundiman. During this period, he had the opportunity to collaborate with renowned Kapampangan poets and writers, including his close friend Amado Yuzon, as well as Felix Galura Napao and Juan Crisostomo Soto.
Diosdado’s health took a sudden turn for the worse, causing him to collapse during one of his university classes. The resident physician at UP recommended that he return home and focus on rest, as his body couldn’t handle the demands of both his studies and his illness. With a heavy heart, Diosdado reluctantly journeyed back to Lubao, carrying not only the weight of his health issues but also the financial challenges that loomed over him. The prospect of continuing his studies seemed uncertain, as his serious health condition required his full attention and care.
However, these unfortunate events concealed an unexpected opportunity for Urbano and Diosdado. During their time of unwelcome hibernation, father and son embarked on a collaborative endeavor. Out of this period of adversity, they crafted a zarzuela literary work titled “Bayung Jerusalem” (The New Jerusalem). This three-act musical drama swiftly gained popularity and became the most renowned among the zarzuelas created by this father and son duo.
The Compania Lubeňa, now enriched with new talents, including Diosdado Macapagal as an actor, his childhood friend Rogelio dela Rosa, and his childhood crush who would later become his first wife, Purita dela Rosa (also the younger sister of Rogelio), embarked on tours of neighboring towns, extending even as far as San Fernando, to produce, perform, and stage their acclaimed work, “Bayung Jerusalem.” In this production, Diosdado assumed the lead male role of Oscar, with Rogelio portraying his counterpart, Ernesto, and Urbano serving as the director. Diosdado and Rogelio’s charisma and appeal made the zarzuela play a sought-after attraction during festivals, special occasions, and in local theaters, even braving rainy seasons.
Zarzuela had been an integral part of Diosdado’s life since childhood, and the hiatus from his studies unexpectedly proved beneficial for both him and his family. It became a means of generating additional income to meet their needs, all while he relished the joy of performing alongside his friends and fellow troupe members. During this period, the worries of not being able to pursue his education and graduate due to his precarious health faded into the background. In fact, his passion for performance led him to compose a 14-stanza lyrical poem titled “Chant d’Amour” (Song of Love) dedicated to his childhood crush and future first wife, Purita, when he was just 20 years old.
After a series of successful tours with Compania Lubeňa, Diosdado’s health improved, and he managed to amass sufficient funds to resume his studies in Manila. In 1932, he enrolled in the Philippine Law School, taking a significant step toward realizing his dream career.
The passion for zarzuelas among the Kapampangans persisted even in the midst of World War II. As the conflict raged on, the Japanese forces were unable to penetrate Mount Arayat, which also served as the sanctuary for the guerrilla movement known as HUKBALAHAP (Hukbong Bayan Laban sa mga Hapon). Initially comprised mainly of peasants, farmers, and laborers, the Huks saw an influx of professional folk artists, singers, scriptwriters, and zarzuelistas. Among these artists was Jose Gallardo from Candaba, who not only rose through the ranks of the Huks but also founded the Culture and Information Department, renowned for its “singing guerrillas.” The “singing guerrillas” were responsible for providing entertainment to the Huks through music and theatrical performances. Interestingly, they often used these plays as a cover for their gatherings and meetings, effectively camouflaging their activities. Diosdado also played a crucial role in supporting the cause, taking on the role of the funding manager for the guerrillas. He tirelessly sought financial aid from affluent Kapampangas, successfully collecting enough funds to provide food, supplies, and artillery for the movement.
After the war, many playwrights continued to create zarzuelas as a means to help the public heal and move past the traumas of the conflict. Notably, Jose Gallardo’s “Crucifijong Pilak” (Silver Crucifix) in 1956 stands out, having been staged over 100 times from 1956 to 1972. These productions served as a form of catharsis and a way for people to temporarily escape the horrors of the war. In the present day, the Kapampangans continue to honor and immortalize the masterpieces of Kapampangan playwrights. For instance, Juan Crisostomo Soto’s “Alang Dios” (There is no God) was revived in his hometown of Bacolor in 2017, a remarkable event occurring after 116 years. This revival reflects the enduring cultural significance and influence of zarzuela plays within the Kapampangan heritage.
Furthermore, the tradition of zarzuela lives on, with a new generation of poets and scriptwriters taking the lead. They are actively involved in writing and staging new zarzuela plays, ensuring that this vibrant form of artistic expression remains an integral part of Kapampangan culture, connecting the past with the present and inspiring future generations.
References
Bucu, Samantha Anne M. Aria and the Unsung Heroes of World War II
Gwekoh, Sol H. The Illustrated Triumph over Poverty. 1965
Macapagal, Arturo R. The Journey: From Nipa Hut to Malacanan Palace
Mallari, Julieta C. Indigenizing the Zarzuela: Kapampangan Ethnocentric Adoption of the Foreign Genre, Australian Studies Centre, Universitat de Barcelona
Orejas, Tonnete, 116-year-old Kapampangan ‘zarzuela’ a gift to Pinatubo survivors, 4 February 2017. Lifestyle.inquirer.net
Online references