Saturday, April 16, 2011

SUPER WORTH =D



THANK YOU + THANK YOU + THANK YOU + THANK YOU + THANK YOU + THANK YOU + 

THANK YOU + THANK YOU + THANK YOU + THANK YOU + THANK YOU + THANK YOU + 

THANK YOU + THANK YOU + THANK YOU + THANK YOU + THANK YOU + THANK YOU + 


= ENDLESS THANK YOU :)) Thank you Sir for guiding us, inspiring us and making us what we are today :)






 http://youtu.be/TM4sGE-G3mA
Thank you for teaching us how to love                                
Showing us what the world means
What We've been dreamin' of
And now we know, there is nothing that we could not do
Thanks to You:)

Sunday, March 20, 2011

HAWLA

tulad ng isang ibon, tao din ay lumilipad…
“Ano ba, patayin mo nga ‘yang radyo!”
“Bakit, ano ba ang pakialam mo?”
“Ayokong marinig ang pagiging madrama mo!”
“Oo, iyang pagiging madrama ko ang dahilan kung bakit tayo maghihiwalay ngayon!”
“Hindi ko kailangan ng dahilan.”
            Sandaling katahimikan. Nagsindi ng sigarilyo.
“Sige, patayin mo ‘yang sarili mo sa sigarilyo!”
”Kanina. Iyong radyo, ngayon naman ito…”
“Nangako ka na ititigil mo na ‘yan, pero tulad ng iba mo pang pangako, ‘di mo ‘din iyon tinupad…”
“Tama na…”
“Puro ka pangako, puro salita!”
“Ano ba, sabi ng tama na!”
“You have no right to shout at me, hiwalay na tayo!”
“And you have no right to tell me what to do dahil  hiwalay na nga tayo!”
            katahimikan. Lumapit. Nagyakapan. Ngunit agad ding umiwas.
“Tama na, ayoko na.”
“Talaga bang pagod ka na?”
“Oo.”
“Saan? Sa Akin? Sa sigarilyo? Sa alak? Sa drama? Sa….’
“Sa relasyon natin!”
“Hindi mo kailangang sumigaw.”
“Minsan, kailangan mong sumigaw.”
“Para saan?”
”Hindi para saan, para kanino.”
“Para sa iyo?”
“Oo,bakit hindi?”
“Ano ang gusto mong isigaw ko?”
“Kahit ano, murahin mo ako, sumbatan mo ako, kahit ano.”
“Kapag ginawa ko ba iyon, hindi ka na aalis?”
Katahimikan. Naglakad. Kinuha ang paboritong libro ni Lawrence Sanders at inilagay sa loob ng maleta. Nag impake. Nagmasid.
“Saan ka pupunta?”
“You don’t want to know.”
“Of course I want to know.”
“Bakit pa?”
“Five years.. it gave me the right to know.”
“It’s over.”
“Alam ko….”
“Hindi na natin maaayos pa ito.”
“Alam ko..”
“Kailangan na natin pakawalan ang isa’t-isa.”
“Alam ko.”
“Napakadami mo namang alam.”
“Bakit, ngayon mo lang nalaman?”
“Don’t be so sarcastic.”
“And don’t be so cruel.’
“Akala mo marami kang alam, pero ang totoo, wala!”
“Siguro nga, wala akong alam, bukod sa mahalin ka…”
“Stop it!”
“Hindi mo na ba ako mahal?”
“I said, stop it!”
“Sabihin mong hindi mo na ako mahal!”
”Hindi na kita mahal!”
“Bakit kailangan mong sumigaw? Para itago ang totoo?”
“Stop it!”
            Galit na ibinalibag ang maleta. Naupo sa gilid ng kama. Nagpigil ng iyak.
“Hindi na ba natin maaayos ito?”
“Hindi na.”
“So this is the saddest part of the play?”
“Wala tayo sa isang play, hindi ito scripted, hindi natin ito ni rehearse, walang curtain na bubukas at babagsak, walang palakpakan ng mga audience, because this is not a play nor one of your stupid and dramatic stories. This is for real!”
“Then how come, we’re not for real?”
”Shut up!”
“Kung tingin mo ito ang pinakamabuti sa iyo, sige, iwan mo ako, hindi kita pipigilan.”
“Kailan mo ba ako pinigilan?”
“Bakit, kapag pinigilan ba kita hindi ka na aalis?”
            Katahimikan. Mahihinang buntong hininga.
“Sino nga ba ang may kasalanan?”
“Pwede naman tayong maghiwalay na walang sisihan, walang masasakit na salita,walang duruan.”
“At walang dahilan.”
“Alam mo na may dahilan.”
“Ano, ang mga short comings ko, ang bisyo ko, ang pagiging dreamer ko?”
“Ikaw ang hindi tumupad sa mga pangako mo.”
“Akala ko ba walang sisihan?”
“I’m sorry.”
“Hindi ko tinupad ang mga pangarap nating dalawa.”
“Tama na.”
“Ano ang plano mo ngayon?”
“Magpapakasal na kami ni Jerry next month.”
“Alam ko, bumalik ka lang dito para kunin ang gamit mo.”
“I’m sorry.”
“No, don’t feel sorry for me. I’m sorry dahil naging duwag ako. Kailangan mo nang pagbabago sa relasyon natin pero bulag ako. Hindi man lang kita….”
“Tama na.”
“Pero talagang mababaw ang pagmamahal natin sa isa’t-isa.”
“Nagsisimula ka na naman.”
“Ang gusto ko lang pakinggan mo ako.”
“Aalis na ako.”
            Kinuha ang maleta. Pinigilan. Muling naupo. Tumitig sa magkaibang direksyon ng kawalan.
“Kapag nagsasalita na ako, umiiwas ka. Iniiba mo ang usapan. Magagalit ka kapag hindi ako nagsalita, pero kapag sinimulan ko nang magpaliwanag, ipipilit mo parin kung ano ang pagkakaintindi mo.”
“Dahil sinungaling ka. Puro ka lang salita. Puro pangako.”
“You know that I’m not that strong…”
“Oo alam ko!”
“There are times that I want you to be strong for me.”
“You know that I can’t always be strong for you.”
“I just needed your help.”
“Ano ba ang gusto mong palabasin? Nagtiis ako, naghintay ako sa pagbabago mo. Gusto kong matuto kang mangarap, dahil hindi tayo puwedeng mabuhay na puro pag-ibig lang. I want you to grow for me, grow with me, pero nanatili ka diyan sa kalungkutan mong hindi ko maintindihan.”
“At hindi kita kayang pakasalan.”
“Bahala ka sa gusto mong isipin, aalis ako, hindi dahil sa mga short comings mo, aalis ako dahil gusto kong mag-isip ka.”
“Pero hindi ka na babalik ‘di ba?”
            Walang sagot.
“Please don’t make it hard for me.”
“It’s not that easy. Hindi kita kayang pakawalan.”
“But I want you to let me go.”
            Parehong napangiti. Pilit. Mapait.
“Noon, madalas kong iniimagine na isa kang ibon o kaya’y isang tutubi. Gustong gusto kitang hulihin at ikulong at alagaan at mahalin. Lumipad ka palapit sa akin, hinuli kita, ikinulong kita, inalagaan kita at minahal. Pero hindi ko iniisip na kailangan mo din palang lumaya para magkaroon ng saysay ang iyong mga pakpak. May mga bagay na nakatadhanang panoorin mo na lamang sa malayo, ‘di dapat ikulong.”
“Thank you.”
“For what?”
“Sa lahat.”
“Thank you din.”
“You’re welcome.”
“Is this really goodbye?”
“Naghihintay na sa akin si Jerry sa gate.”
“Is there no way for you to change your mind?”
“I’m sorry but I have to go.”
“Is that your final word?”
“I think so…”
“Wala man lang goodbye, walang I love you…?”
“Aalis na ako…”
“Where do I go from here?”
“I don’t know.”
            Muling katahimikan. Tumingin sa sarili sa salamin. Inayos ang buhok at damit. Kinuha ang bag. Naghanda sa pag-alis.
“You know what. I maybe a fool to let you go, nagkamali ako nung hindi ko tinupad ang lahat ng pangako ko sa iyo. Pero mayroon akong isang pangako sa iyo na tinupad ko, at tutuparin ko parin kahit na hiwalay na tayo. Kahit na may mahal ka ng iba.”
            Walang sagot. Nakatitig sa isa’t isa.
“Hindi mo ba itatanong kung ano iyon?”
“Ano iyon?”
“Ang mahalin ka nang buong buo.”
            Mabilis na tumalikod. Lumabas ng pinto. Tumunog ang makina ng kotse. Naiwang mag-isa. Nagsindi ng sigarilyo. Uminom ng alak. Lumuha. Nakinig ng radyo.
…tulad ng isang ibon, tao ‘din ay lumilipad…
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Friday, March 4, 2011

Ambon,Ulan, Baha By: Frank River


Ambon,Ulan, Baha By: Frank Rivera
AMBON ULAN BAHA” is a two-hour ethno-rock modern zarzuela that showcases twenty original musical scores inspired by kundiman, balitaw, ethnic and modern musical trends with choreography based on ethnic, folk/traditional and creative dances


An original production of the celebrated Mindanao State University –Sining Kambayoka ( founded by Theater Artist Frank G. Rivera ) in 1978, “ Ambom…” was remounted by Teatro Metropolitano through NCCA Grant in 1992, also at the helm of Rivera.
This long –time running musical which predicted the Ormoc tragedy in 1991, highlights environmental concerns and focuses on the preservation of Philippine forests. It also deals heavily on Filipino values, the importance of education, religion, family and youth. It also carries relevant commentaries on socio-economic and political issues of the times. It aims to educate its audiences especially the youth about issues of urgent and national importance To – date, ARNAI’s “ Ambon, Ulan, Baha” has been sponsored by several organizations and institutions and has seen more than 500 performances. The zarzuela’s success in depicting the Filipino lives after almost three decades after it was first staged, proved its timelessness and its relevance to the evolutions of Philippine Theater.
Its music, inspired by folk/traditional songs like balitaw and kundiman, formerly considered provincial “ bakya “ , and unsophisticated as compared to “mainstream” of legitimate theater, proved to be good venue for improvisation and fusion, thus exploring and experimenting for new forms.
Its dances: a fusion of folk/traditional, modern and creative movements showcase creative interpretation of the play’s songs and scene.
May Day Eve
By Nick Joaquin
The old people had ordered that the dancing should stop at ten o’clock but it was almost midnight before the carriages came filing up the departing guests, while the girls who were staying were promptly herded upstairs to the bedrooms, the young men gathering around to wish them a good night and lamenting their ascent with mock signs and moaning, proclaiming themselves disconsolate but straightway going off to finish the punch and the brandy though they were quite drunk already and simply bursting with wild spirits, merriment, arrogance and audacity, for they were young bucks newly arrived from Europe; the ball had been in their honor; and they had waltzed and polka-ed and bragged and swaggered and flirted all night and where in no mood to sleep yet--no, caramba, not on this moist tropic eve! not on this mystic May eve! --with the night still young and so seductive that it was madness not to go out, not to go forth---and serenade the neighbors! cried one; and swim in the Pasid! cried another; and gather fireflies! cried a third—whereupon there arose a great clamor for coats and capes, for hats and canes, and they were a couple of street-lamps flickered and a last carriage rattled away upon the cobbles while the blind black houses muttered hush-hush, their tile roofs looming like sinister chessboards against a wile sky murky with clouds, save where an evil young moon prowled about in a corner or where a murderous wind whirled, whistling and whining, smelling now of the sea and now of the summer orchards and wafting unbearable childhood fragrances or ripe guavas to the young men trooping so uproariously down the street that the girls who were desiring upstairs in the bedrooms catered screaming to the windows, crowded giggling at the windows, but were soon sighing amorously over those young men bawling below; over those wicked young men and their handsome apparel, their proud flashing eyes, and their elegant mustaches so black and vivid in the moonlight that the girls were quite ravished with love, and began crying to one another how carefree were men but how awful to be a girl and what a horrid, horrid world it was, till old Anastasia plucked them off by the ear or the pigtail and chases them off to bed---while from up the street came the clackety-clack of the watchman’s boots on the cobble and the clang-clang of his lantern against his knee, and the mighty roll of his great voice booming through the night, "Guardia serno-o-o! A las doce han dado-o-o.
And it was May again, said the old Anastasia. It was the first day of May and witches were abroad in the night, she said--for it was a night of divination, and night of lovers, and those who cared might peer into a mirror and would there behold the face of whoever it was they were fated to marry, said the old Anastasia as she hobble about picking up the piled crinolines and folding up shawls and raking slippers in corner while the girls climbing into four great poster-beds that overwhelmed the room began shrieking with terror, scrambling over each other and imploring the old woman not to frighten them.
"Enough, enough, Anastasia! We want to sleep!"
"Go scare the boys instead, you old witch!"
"She is not a witch, she is a maga. She is a maga. She was born of Christmas Eve!"
"St. Anastasia, virgin and martyr."
"Huh? Impossible! She has conquered seven husbands! Are you a virgin, Anastasia?"
"No, but I am seven times a martyr because of you girls!"
"Let her prophesy, let her prophesy! Whom will I marry, old gypsy? Come, tell me."
"You may learn in a mirror if you are not afraid."
"I am not afraid, I will go," cried the young cousin Agueda, jumping up in bed.
"Girls, girls---we are making too much noise! My mother will hear and will come and pinch us all. Agueda, lie down! And you Anastasia, I command you to shut your mouth and go away!""Your mother told me to stay here all night, my grand lady!"
"And I will not lie down!" cried the rebellious Agueda, leaping to the floor. "Stay, old woman. Tell me what I have to do."
"Tell her! Tell her!" chimed the other girls.
The old woman dropped the clothes she had gathered and approached and fixed her eyes on the girl. "You must take a candle," she instructed, "and go into a room that is dark and that has a mirror in it and you must be alone in the room. Go up to the mirror and close your eyes and shy:
Mirror, mirror, show to me him whose woman I will be. If all goes right, just above your left shoulder will appear the face of the man you will marry." A silence. Then: "And hat if all does not go right?" asked Agueda. "Ah, then the Lord have mercy on you!" "Why." "Because you may see--the Devil!"
The girls screamed and clutched one another, shivering. "But what nonsense!" cried Agueda. "This is the year 1847. There are no devil anymore!" Nevertheless she had turned pale. "But where could I go, hugh? Yes, I know! Down to the sala. It has that big mirror and no one is there now." "No, Agueda, no! It is a mortal sin! You will see the devil!" "I do not care! I am not afraid! I will go!" "Oh, you wicked girl! Oh, you mad girl!" "If you do not come to bed, Agueda, I will call my mother." "And if you do I will tell her who came to visit you at the convent last March. Come, old woman---give me that candle. I go." "Oh girls---give me that candle, I go."
But Agueda had already slipped outside; was already tiptoeing across the hall; her feet bare and her dark hair falling down her shoulders and streaming in the wind as she fled down the stairs, the lighted candle sputtering in one hand while with the other she pulled up her white gown from her ankles. She paused breathless in the doorway to the sala and her heart failed her. She tried to imagine the room filled again with lights, laughter, whirling couples, and the jolly jerky music of the fiddlers. But, oh, it was a dark den, a weird cavern for the windows had been closed and the furniture stacked up against the walls. She crossed herself and stepped inside.
The mirror hung on the wall before her; a big antique mirror with a gold frame carved into leaves and flowers and mysterious curlicues. She saw herself approaching fearfully in it: a small while ghost that the darkness bodied forth---but not willingly, not completely, for her eyes and hair were so dark that the face approaching in the mirror seemed only a mask that floated forward; a bright mask with two holes gaping in it, blown forward by the white cloud of her gown. But when she stood before the mirror she lifted the candle level with her chin and the dead mask bloomed into her living face.
She closed her eyes and whispered the incantation. When she had finished such a terror took hold of her that she felt unable to move, unable to open her eyes and thought she would stand there forever, enchanted. But she heard a step behind her, and a smothered giggle, and instantly opened her eyes.
"And what did you see, Mama? Oh, what was it?" But Dona Agueda had forgotten the little girl on her lap: she was staring pass the curly head nestling at her breast and seeing herself in the big mirror hanging in the room. It was the same room and the same mirror out the face she now saw in it was an old face---a hard, bitter, vengeful face, framed in graying hair, and so sadly altered, so sadly different from that other face like a white mask, that fresh young face like a pure mask than she had brought before this mirror one wild May Day midnight years and years ago.... "But what was it Mama? Oh please go on! What did you see?" Dona Agueda looked down at her daughter but her face did not soften though her eyes filled with tears. "I saw the devil." she said bitterly. The child blanched. "The devil, Mama? Oh... Oh..." "Yes, my love. I opened my eyes and there in the mirror, smiling at me over my left shoulder, was the face of the devil." "Oh, my poor little Mama! And were you very frightened?" "You can imagine. And that is why good little girls do not look into mirrors except when their mothers tell them. You must stop this naughty habit, darling, of admiring yourself in every mirror you pass- or you may see something frightful some day." "But the devil, Mama---what did he look like?" "Well, let me see... he has curly hair and a scar on his cheek---" "Like the scar of Papa?" "Well, yes. But this of the devil was a scar of sin, while that of your Papa is a scar of honor. Or so he says." "Go on about the devil." "Well, he had mustaches." "Like those of Papa?" "Oh, no. Those of your Papa are dirty and graying and smell horribly of tobacco, while these of the devil were very black and elegant--oh, how elegant!" "And did he speak to you, Mama?" "Yes… Yes, he spoke to me," said Dona Agueda. And bowing her graying head; she wept.
"Charms like yours have no need for a candle, fair one," he had said, smiling at her in the mirror and stepping back to give her a low mocking bow. She had whirled around and glared at him and he had burst into laughter. "But I remember you!" he cried. "You are Agueda, whom I left a mere infant and came home to find a tremendous beauty, and I danced a waltz with you but you would not give me the polka." "Let me pass," she muttered fiercely, for he was barring the way. "But I want to dance the polka with you, fair one," he said. So they stood before the mirror; their panting breath the only sound in the dark room; the candle shining between them and flinging their shadows to the wall. And young Badoy Montiya (who had crept home very drunk to pass out quietly in bed) suddenly found himself cold sober and very much awake and ready for anything. His eyes sparkled and the scar on his face gleamed scarlet. "Let me pass!" she cried again, in a voice of fury, but he grasped her by the wrist. "No," he smiled. "Not until we have danced." "Go to the devil!" "What a temper has my serrana!" "I am not your serrana!" "Whose, then? Someone I know? Someone I have offended grievously? Because you treat me, you treat all my friends like your mortal enemies." "And why not?" she demanded, jerking her wrist away and flashing her teeth in his face. "Oh, how I detest you, you pompous young men! You go to Europe and you come back elegant lords and we poor girls are too tame to please you. We have no grace like the Parisiennes, we have no fire like the Sevillians, and we have no salt, no salt, no salt! Aie, how you weary me, how you bore me, you fastidious men!" "Come, come---how do you know about us?"
"I was not admiring myself, sir!" "You were admiring the moon perhaps?" "Oh!" she gasped, and burst into tears. The candle dropped from her hand and she covered her face and sobbed piteously. The candle had gone out and they stood in darkness, and young Badoy was conscience-stricken. "Oh, do not cry, little one!" Oh, please forgive me! Please do not cry! But what a brute I am! I was drunk, little one, I was drunk and knew not what I said." He groped and found her hand and touched it to his lips. She shuddered in her white gown. "Let me go," she moaned, and tugged feebly. "No. Say you forgive me first. Say you forgive me, Agueda." But instead she pulled his hand to her mouth and bit it - bit so sharply in the knuckles that he cried with pain and lashed cut with his other hand--lashed out and hit the air, for she was gone, she had fled, and he heard the rustling of her skirts up the stairs as he furiously sucked his bleeding fingers. Cruel thoughts raced through his head: he would go and tell his mother and make her turn the savage girl out of the house--or he would go himself to the girl’s room and drag her out of bed and slap, slap, slap her silly face! But at the same time he was thinking that they were all going to Antipolo in the morning and was already planning how he would maneuver himself into the same boat with her. Oh, he would have his revenge, he would make her pay, that little harlot! She should suffer for this, he thought greedily, licking his bleeding knuckles. But---Judas! He remembered her bare shoulders: gold in her candlelight and delicately furred. He saw the mobile insolence of her neck, and her taut breasts steady in the fluid gown. Son of a Turk, but she was quite enchanting! How could she think she had no fire or grace? And no salt? An arroba she had of it!
"... No lack of salt in the chrism At the moment of thy baptism!" He sang aloud in the dark room and suddenly realized that he had fallen madly in love with her. He ached intensely to see her again---at once! ---to touch her hands and her hair; to hear her harsh voice. He ran to the window and flung open the casements and the beauty of the night struck him back like a blow. It was May, it was summer, and he was young---young! ---and deliriously in love. Such a happiness welled up within him that the tears spurted from his eyes. But he did not forgive her--no! He would still make her pay, he would still have his revenge, he thought viciously, and kissed his wounded fingers. But what a night it had been! "I will never forge this night! he thought aloud in an awed voice, standing by the window in the dark room, the tears in his eyes and the wind in his hair and his bleeding knuckles pressed to his mouth.
But, alas, the heart forgets; the heart is distracted; and May time passes; summer lends; the storms break over the rot-tipe orchards and the heart grows old; while the hours, the days, the months, and the years pile up and pile up, till the mind becomes too crowded, too confused: dust gathers in it; cobwebs multiply; the walls darken and fall into ruin and decay; the memory perished...and there came a time when Don Badoy Montiya walked home through a May Day midnight without remembering, without even caring to remember; being merely concerned in feeling his way across the street with his cane; his eyes having grown quite dim and his legs uncertain--for he was old; he was over sixty; he was a very stopped and shivered old man with white hair and mustaches coming home from a secret meeting of conspirators; his mind still resounding with the speeches and his patriot heart still exultant as he picked his way up the steps to the front door and inside into the slumbering darkness of the house; wholly unconscious of the May night, till on his way down the hall, chancing to glance into the sala, he shuddered, he stopped, his blood ran cold-- for he had seen a face in the mirror there---a ghostly candlelight face with the eyes closed and the lips moving, a face that he suddenly felt he had been there before though it was a full minutes before the lost memory came flowing, came tiding back, so overflooding the actual moment and so swiftly washing away the piled hours and days and months and years that he was left suddenly young again; he was a gay young buck again, lately came from Europe; he had been dancing all night; he was very drunk; he s stepped in the doorway; he saw a face in the dark; he called out...and the lad standing before the mirror (for it was a lad in a night go jumped with fright and almost dropped his candle, but looking around and seeing the old man, laughed out with relief and came running.
"Oh Grandpa, how you frightened me. Don Badoy had turned very pale. "So it was you, you young bandit! And what is all this, hey? What are you doing down here at this hour?" "Nothing, Grandpa. I was only... I am only ..." "Yes, you are the great Señor only and how delighted I am to make your acquaintance, Señor Only! But if I break this cane on your head you maga wish you were someone else, Sir!" "It was just foolishness, Grandpa. They told me I would see my wife."
"Wife? What wife?" "Mine. The boys at school said I would see her if I looked in a mirror tonight and said: Mirror, mirror show to me her whose lover I will be.
Don Badoy cackled ruefully. He took the boy by the hair, pulled him along into the room, sat down on a chair, and drew the boy between his knees. "Now, put your cane down the floor, son, and let us talk this over. So you want your wife already, hey? You want to see her in advance, hey? But so you know that these are wicked games and that wicked boys who play them are in danger of seeing horrors?"
"Well, the boys did warn me I might see a witch instead."
"Exactly! A witch so horrible you may die of fright. And she will be witch you, she will torture you, she will eat
your heart and drink your blood!"
"Oh, come now Grandpa. This is 1890. There are no witches anymore."
"Oh-ho, my young Voltaire! And what if I tell you that I myself have seen a witch.
"You? Where?
"Right in this room land right in that mirror," said the old man, and his playful voice had turned savage.
"When, Grandpa?"
"Not so long ago. When I was a bit older than you. Oh, I was a vain fellow and though I was feeling very sick that night and merely wanted to lie down somewhere and die I could not pass that doorway of course without stopping to see in the mirror what I looked like when dying. But when I poked my head in what should I see in the mirror but...but..."
"The witch?"
"Exactly!"
"And then she bewitch you, Grandpa!"
"She bewitched me and she tortured me. l She ate my heart and drank my blood." said the old man bitterly.
"Oh, my poor little Grandpa! Why have you never told me! And she very horrible?
"Horrible? God, no--- she was the most beautiful creature I have ever seen! Her eyes were somewhat like yours but her hair was like black waters and her golden shoulders were bare. My God, she was enchanting! But I should have known---I should have known even then---the dark and fatal creature she was!"
A silence. Then: "What a horrid mirror this is, Grandpa," whispered the boy.
"What makes you slay that, hey?"
"Well, you saw this witch in it. And Mama once told me that Grandma once told her that Grandma once saw the devil in this mirror. Was it of the scare that Grandma died?"
Don Badoy started. For a moment he had forgotten that she was dead, that she had perished---the poor Agueda; that they were at peace at last, the two of them, her tired body at rest; her broken body set free at last from the brutal pranks of the earth---from the trap of a May night; from the snare of summer; from the terrible silver nets of the moon. She had been a mere heap of white hair and bones in the end: a whimpering withered consumptive, lashing out with her cruel tongue; her eye like live coals; her face like ashes... Now, nothing--- nothing save a name on a stone; save a stone in a graveyard---nothing! was left of the young girl who had flamed so vividly in a mirror one wild May Day midnight, long, long ago.
And remembering how she had sobbed so piteously; remembering how she had bitten his hand and fled and how he had sung aloud in the dark room and surprised his heart in the instant of falling in love: such a grief tore up his throat and eyes that he felt ashamed before the boy; pushed the boy away; stood up and looked out----looked out upon the medieval shadows of the foul street where a couple of street-lamps flickered and a last carriage was rattling away upon the cobbles, while the blind black houses muttered hush-hush, their tiled roofs looming like sinister chessboards against a wild sky murky with clouds, save where an evil old moon prowled about in a corner or where a murderous wind whirled, whistling and whining, smelling now of the sea and now of the summer orchards and wafting unbearable the window; the bowed old man sobbing so bitterly at the window; the tears streaming down his cheeks and the wind in his hair and one hand pressed to his mouth---while from up the street came the clackety-clack of the watchman’s boots on the cobbles, and the clang-clang of his lantern against his knee, and the mighty roll of his voice booming through the night:
"Guardia sereno-o-o! A las doce han dado-o-o!"
THE SMALL KEY by Paz latorena It was very warm. The sun, up above a sky that was all blue and tremendous and beckoning to birds ever on the wing, shone bright as if determined to scorch everything under heaven, even the low, square nipa house that stood in unashamed relief against the gray green haze of grass and leaves. It was a lonely dwelling, located far from its neighbors, which were huddled close to one another as if for mutual comfort, it was flanked on both sides by tall, slender bamboo tress which rustled plaintively under a gentle wind. On the porch a woman past her early twenties stood regarding the scene before her with eyes made incurious by its familiarity. All around her the land stretched endlessly, it seemed, and vanished into the distance there were dark newly plowed furrows where in due time timorous seedlings would give rise to study stalks and golden grain, to a ripping yellow sea in the wind and sun during harvest time. Promise of plenty and reward for hard toil! With a sigh of discontent, however, the woman turned and entered a small dining room where a man sat over a belated midday meal. Pedro Buhay, a prosperous farmer, looked up from his plate and smiled at his wife as she stood framed by the doorway, the sunlight glinting on her dark hair, which was drawn back, without a relenting wave, from a rather prominent and austere brow. "Where are the shirts I ironed yesterday?" she asked as she approached the table. "In my trunk, I think" he answered. "Some of them need darning" and observing the empty plate, she added, "do you want some more rice?" "No" hastily, "I am in a hurry to get back. We must finish plowing the south field today because tomorrow is Sunday." Pedro pushed the chair back and stood up. Soledad began to pile the dirty dishes one on top of the other. "Here is the key to my trunk" from the pocket of his khaki coat he pulled a string of nondescript red, which held together a big shiny key and another small, rather rusty - looking one. With deliberate care he untied the knot, and, detaching the big key, dropped the small one back into his pocket. She watched him fixedly as he did this. The smile left her face and strange look came into her eyes as she look the big key from him without a word together they left the dining room. Out on the porch, he put an arm around her shoulder and peered into her shadowed face. "You look pale and tired", he remarked softly. "What have you been doing all morning?" "Nothing," she said listlessly, "but the heat gives me a headache." "Then lie down and try to sleep while I am gone." For a moment they looked deep into each other's eyes. "It is really warm," he continued. "I think I will take off my coat." He removed the garment absent-mindedly and handed it to her. The stairs creaked under his weight as he went down. "Choleng" he turned his head as he opened the gate, "I shall pass by Tia Maria's house and tell her to come, I may not return before dark." Soledad nodded. Her eyes followed her husband down the road, noting the fine set of his head and shoulders, the ease of his stride. A strange ache rose in her throat. She looked at the coat he had handed to her. It exuded a faint smell of his favorite cigars, one of which he invariably smoked, after the day's work, on his way home from fields. Mechanically, she began to fold the garment. As she was doing so, a small object fell o the floor with a dull, metallic sound. Soledad stooped down and picked it up. It was the small key! She started at it in her palm as if she had never seen before. Her mouth was tightly drawn and for a while she looked almost old. She passes into the small bedroom and tossed the coat carelessly on the back of a chair. She opened the window and the early afternoon sunshine flooded in. On a mat spread on the bamboo floor were some newly washed garments. She began to fold them one by one in feverish haste, as if seeking in the task Of the moment a refuge from painful thoughts. But her eyes moved restlessly around the room until they rested almost furtively on a small trunk that was half concealed by a rolled mat in a dark corner. It was a small, old trunk, without anything on the outside that might arouse one's curiosity. But it held the things she had come to hate with unnecessary anguish and pain, and threatened to destroy all that was most beautiful between her and her husband! Soledad came across a torn garment. She threaded a needle but after a few uneven stitches she pricked her finger and a crimson drop stained the white garment. Then she saw she had been mending on the wrong way. "What is the matter with me?" she asked herself aloud as she pulled the thread with nervous and impatient fingers. What did it matter if her husband chose to keep the clothes of his first wife? "She is dead now, anyhow, she is dead." She repeated to herself over and over again. The sound of her own voice calmed her. She tried to thread the needle once more. But she could not, for the tears had come unbidden and completely blinded her. "My God," she cried with a sob "make me forget Indo's face as he put the small key back into his pocket" She brushed her tears with a sleeve of her camisa and abruptly stood up. The heat was stifling, and the silence in the house was beginning to be unendurable. She looked out of the window. she wondered what was keeping Tia Maria Perhaps Pedro has forgotten to pass by her house in his hurry. She could picture him out there in the south field gazing far and wide at the newly plowed land, with no thought in his mind but work. Work. For. To the people of the barrio whose patron saint, San Isidro Labrador, smiled on them with benign eyes from his crude altar in the little chapel up the hill, this season was a prolonged hour of passion during which they were blind and deaf to everything but the demands of the land. During the next half hour, Soledad wandered in and out of the rooms, in an effort to seek escape from her own thoughts and to fight down an overpowering impulse. Tia Maria would only come and talk to her to divert her thoughts to other channels! But the expression of her husband's face as he put the small key back into his pocket kept torturing her like a nightmare, goading her beyond endurance. Then, with all resistance to the impulse gone, she was kneeling before the small trunk. With a long drawn breath she inserted the small key. There was unpleasant, metallic sound for the key had not been used for a long time and it was rusty. II That evening Pedro Buhay hurried home with the usual cigar dangling from his mouth, please with himself and the tenants because the work in the south field has been finished. He was met by Tia maria at the gate and was told by her that Soledad was in bed with a fever. "I shall go to town and bring Dr.Santos," he decided, his cool hand on his wife's brow. Soledad opened her eyes. "Don't Indo," she begged with a vague terror in her eyes which he took for anxiety for him because the town was pretty far and the road was dark and deserted by that hour of the night. "I shall be all right tomorrow." Pedro returned an hour later, very tired and rather worried. The doctor was not at home. But the wife had promised to send him to Pedro's house as soon as he came in. Tia Maria decided to remain for the night. But it was Pedro who stayed up to watch over the sick woman. He was puzzled and worried - more than he cared to admit. It was true that Soledad had not looked very well when he left her early that that afternoon. Yet, he thought, the fever was rather sudden. He was afraid it might be a symptom of a serious illness. Soledad was restless the whole night. She tossed from one side to another, but towards morning she fell into some sort of troubled sleep. Pedro then lay down to snatch a few winks. He woke up to find the soft morning sunshine streaming through the half opened window, playing on the sleeping face of his wife. He got up without making any noise. His wife was now breathing evenly. A sudden rush of tenderness came over him at the sight of her - so slight, so frail. Tia Maria was nowhere to be seen, but that did not bother him for it was Sunday and work in the south field was finished. However, he missed the pleasant aroma which came from the kitchen every time he woke up early in the morning. The kitchen looked neat but cheerless, and an immediate search for wood brought no results. So, shouldering an ax, Pedro descended the rickety stairs that led to the backyard. The morning was clear and the breeze soft and cool. Pedro took in a breath of air. It was good - it smell of trees, of the rice fields, of the land he loved. He found a pile of logs under the young mango tree near the house, and began to chop. He swung the ax with rapid clean sweeps, enjoying the feel of the smooth wooden handle in his palms. As he stopped for a while to mop his brow, his eye caught the remnants of a smudge that had been built in the backyard. "Ah!" he muttered to himself. "She swept that yard yesterday after I left her. That coupled with the heat must have given her a headache and then the fever." The morning breeze stirred the ashes and a piece of white cloth fluttered into view. Pedro dropped his ax. It was a half - burnt panuelo. Somebody had been burning clothes. He examined the slightly ruined garment closely. A puzzled expression came into his eyes. First it was doubt groping for truth, then amazement, and finally agonized incredulity passed across his face. He almost ran back to the house. In three strides he was upstairs. He found his coat hanging from the back of a chair Cautiously he entered the room. The heavy breathing of his wife told him that she was still sleep. As he stood by the small trunk, a vague distance to open it assailed him. Surely, he must be mistaken. She could not have done it, she could not have done that…that foolish… Resolutely he opened trunk. It was empty. It was nearby noon when the doctor arrived. He felt Soledad's pulse and asked questions which she answered in monosyllables. Pedro stood by listening to the whole procedure with an expression when the doctor told him by the gate that nothing was really wrong with his wife although she seemed to be worried about something. The physician merely prescribed a day of complete test. Pedro lingered on the porch after the doctor had mouthed his horse and galloped away. He was trying not to be angry with his wife. He hoped it would be just an interlude that could be recalled without bitterness. She would explain sooner or later, she would be repentant, perhaps she would even try to convince him that shi had done it because she loved him. And he would listen and eventually forgive her for she was young always remain a shadow in their lives. How quiet and peaceful the day was! A cow that had strayed by looked over her shoulder with a round vague inquiry and went on chewing her cud, blissfully unaware of such things as a gnawing fear in the hear of a woman and a still smoldering resentment in a man's.

Valediction sa hill crest


Pagkacollect ng Railway Express sa aking things
(Deretso na iyon sa barko while I take the plane.)
Inakyat kong muli ang N-311, at dahil dead of winter,
Nakatopcoat at galoshes akong
Nagright-turn sa N wing ng mahabang dilim
(Tunnel yatang aabot hanggang Tundo.)
Kinapa ko ang switch sa hall.
Sa isang pitik, nagshrink ang imaginary tunnel,
Nagparang ataol.
Or catacomb.
Strangely absolute ang impression
Ng hilera ng mga pintong nagpuprusisyon:
Individual identification, parang mummy cases,
De-nameplate, de-numero, de-hometown address.
Antiseptic ang atmosphere, streamlined yet.
Kung hindi catacomb, at least
E filing cabinet.
Filing, hindi naman deaths, ha.
Remembrances, oo. Yung medyo malapot
Dahil alam mo na, I’m quitting the place
After two and a half years.
After two and a half years,
Di man nagkatiyempong mag-ugat, ika nga,
Siyempre’y nagging attached, parang morning glory’ng
Mahirap mapaknit sa alambreng trellis.
At pagkabukas ko sa kuwarto,
Hubo’t hubad na ang mattresses,
Wala nang kutson sa easy chair,
Mga drawer ng bureau’y nakanganga,
Sabay-sabay nag-ooration,
Nagkahiyaan, nabara.
Of course, tuloy ang radiator sa paggaralgal:
Nasa New York na si Bob and the two Allans,
Yung mga quarterbacks across the hall
Pihadong panay ang display sa Des Moines.
Don ang Cosntance aren’t coming back at all.
Gusto ko nang magpaalam–
to whom?
The drapes? The washbowl? Sa double-decker
Na pinaikot-ikot naming ni Kandaswamy
To create space, hopeless, talagang impossible.
Of course, tuloy ang radiator sa paglagutok.
(And the stone silence,
nakakaiyak kung sumagot.)
Bueno, let’s get it over with.
It’s a long walk to the depot.
Tama na ang sophistication-sophistication.
Sa steep incline, pababa sa highway
Where all things level, sabi nga,
There’s a flurry, ang gentle-gentle.
Pagwhoosh-whoosh ng paa ko,
The snow melts right under:
Nagtutubig parang asukal,
Humuhulas,
nagsesentimental.
-Rolando Tinio

Morning in Nagrebcan



It was sunrise at Nagrebcan. The fine, bluish mist, low over the tobacco fields, was lifting and thinning moment by moment. A ragged strip of mist, pulled away by the morning breeze, had caught on the clumps of bamboo along the banks of the stream that flowed to one side of the barrio. Before long the sun would top the Katayaghan hills, but as yet no people were around. In the grey shadow of the hills, the barrio was gradually awaking. Roosters crowed and strutted on the ground while hens hesitated on theri perches among the branches of the camanchile trees. Stray goats nibbled the weeds on the sides of the road, and the bull carabaos tugged restively against their stakes.
                In the early mornig the puppies lay curled up together between their mother’s paws under the ladder of the house. Four puupies were all white like the mother. They had pink noses and pink eyelids and pink mouths. The skin between their toes and on the inside of their large, limp ears was pink. They had short sleek hair, for the mother licked them often. The fifth puppy lay across the mother’s neck. On the puppy’s back was a big black spot like a saddle. The tips of its ears were black and so was a pitch of hair on its chest.
                The opening of the sawali door, its uneven bottom dragging noisily against the bamboo flooring, aroused the mother dog and she got up and stretched and shook herself, scattering dust and loose white hair. A rank doggy smell rose in the cool morning air. She took a quick leap forward, clearing the puppies which had begun to whine about her, wanting to suckle. She trotted away and disappeared beyond the house of a neighbor.
                The puppies sat back on their rumps, whining. After a little while they lay down and went back to sleep, the black-spotted puppy on top.
                Baldo stood at the treshold and rubbed his sleep-heavy eyes with his fists. He must have been about ten yeras old, small for his age, but compactly built, and he stood straight on his bony legs. He wore one of his father’s discarded cotton undershirts.
                The boy descended the ladder, leaning heavily on the single bamboo railing that served as a banister. He sat on the lowest step of the ladder, yawning and rubbing his eyes one after the other. Bending down, he reached between his legs for the blak-spotted puppy. He held it to him, stroking its soft, warm body. He blew on its nose. The puppy stuck out a small red tongue,lapping the air. It whined eagerly. Baldo laughed—a low gurgle.
                He rubbed his face against that of the dog. He said softly. “My puppy. My puppy.” He said it many times. The puppy licked his ears, his cheeks. When it licked his mouth. Baldo straightened up, raised the puppy on a level with his eyes. “You are a foolish puppy” he said, laughing. “Foolish, foolish, foolish,” he said, rolling the puppy on his lap so that it howled.
                The four other  puppies awoke and came scrambling about Baldo’s legs. He put down the black-spotted puppy and ran to the narrow foot bridge of women split-bamboo spanning the roadside ditch. When it rained, water from the roadway flowed under the makeshift bridge, but it had not rained for a long time and the ground was dry and sandy. Baldo sat on the bridge, digging his bare feet into the sand, feeling the cool particles escaping between his toes. He whistled, a toneless whistle with a curious trilling to it produced by placing the tongue against the lower teeth and then curving it up and down. The whistle excited the puppies, they ran to the boy as fast theri unsteady legs could carry them, barking choppy little barks.
                Nana Elang, the mother of Baldo, now appeared in the doorway with a handful of rice straw. She called Baldo and told him to get some live coals from their neighbor.
                “Get two or three burning coals and bring them home on the rice straw”, she said. “Do not wave the straw in the wind. If you do, it will catch fire before you get home.” She watched him run toward KA Ikao’s house where already smoke was rising through the nipa roofing into the misty air. One or two empty carromatas dawn by sleepy litte ponies rattled along the pebbly street, bound for the railroad station.
                Nana Elang must have been thirty, but she looked at least fifty. She was a thin, wispy woman, with bony hands and arms. She had scanty,straight, graying hair which she gathered behind her head in a small,tight knot. It made her look thinner than ever. Her cheekbones seemed on the point of bursting through the dry, yellowish brown skin. Above a gray-checkered skirt, she wore a single wide-sleeved cotton blouse that ended below her flat breats. Sometimes when she stooped or reached up for anything,a glimpse of the flesh at her waist showed in a dark, purplish band where the skirt had been tired so often.
                She turned from the doorway into the small, untidy kitchen. She washed the rice and put it in a pot which she placed on the cold stove. She made ready the other pot for the mess of vegetables and dried fish. When Baldo came back with the rice straw and burning coals, she told him to start a fire in the stove, while she cut the ampalaya tendrils and sliced the eggplants. Ehen the fire finally flamed inside the clay stove, Baldo’s eyes were smarting from the smoke of the rice straw.
                ‘There is the fire, mother.” He said. “Is father awake already?”
                Nana Elang shook her head. Baldo went out slowly on tiptoe.
                There were already many people going out. Several  fishermen wearing coffee-colored shirts and trousers and hats made from the shell of  white pumpkins passed by. The smoke of their home made cigars floated behind them like shreds of the morning mist. Women carrying big empty baskets were going to the tobacco fields. They walked fast, talking among themselves. Each woman had gathered the loose folds of her skirt in front, and twisting the end two or three times, passed it between her legs, pulling it up at the back, and slipping it inside her waist. The women seemed to be wearing trousers that reached only to their knees and flared at the thighs.
                Day was quickly growing older. The east flamed redly and Baldo called to his mother, “Look, mother, God also cooks his breakfast.”
                He want to play with the puppies. He sat on the bridges and took them on his lap one by one. He searched for fleas which he crushed between his thumbnails. You, puppy.” He murmured soflty. When he held the balck-spotted puppy he said, “My puppy. My puppy.”
                Ambo, his seven year old brother, awoke crying. Nana Elang could be heard patiently calling him to the kitchen. Later he came down with a ripe banana in his hand. Ambo was almost as tall as his older brother and he had stout husky legs. Baldo often called him the son of of an Igorot. The home-made cotton shirt he wore was variously stained. The pocket was torn, and it flopped down. He ate the banana without peeling it.

Sunday, February 27, 2011

THE WORLD IS AN APPLE

  Mario’s family happens to be in the lower bracket of society.  He cannot even provide for his family’s basic needs.  Albeit all this hardships, his wife Gloria, still manages to keep her good virtuous.  She insists that the way they are living is a much better than the one they will have if they do wrong acts.    But Gloria’s entire constant reminder to Mario did not prosper.  Mario decided to come back to his old life of crime when he lost his job when he tried to steal an apple for his daughter.  He keeps on insisting that his priority is to provide what his wife and daughter needs.  He left with Pablo, his old crime buddy, even if Gloria pleaded very hard for him not to go with the man. This is a sad representation of what is happening in the society today.  Due to lack of better opportunities to heighten one’s standard of living, some become entangled with the wrong crowd.  By doing so, these individuals do not help their family at all; instead, they end up worsening their family’s problem.  It is man’s basic instinct that drives him towards his survival.  But, no matter what, he should not forget that society expects him to conform to its norms.  One’s action is weighed right or wrong and thus should be kept towards the proper action.

The Way We live by Danton Remoto

Bang the drum, baby,
let us roll tremors
of sound to wake
the Lord God of motion
sleeping under the skin.

Of choosing what to wear
this Saturday night:
cool, sexy black
or simply fuck-me red?
Should I gel my hair
or let it fall like water?

Of sitting on the sad
and beautiful face of James Dean
while listening to reggae
at Blue Café.

Of chatting with friends
at The Library
while Allan Shimmers
with his sequins and wit.

Of listening to stories at Cine Café:
the first eye-contact,
conversations glowing
in the night,
lips and fingers touching,
groping for each other’s loneliness.

Of driving home
under the flyover’s dark wings
(a blackout once again plunges
the city to darkness)

Summer’s thunder
lighting up the sky
oh heat thick
as desire

Then suddenly the rain:
finally falling,
falling everywhere:
to let go, then,
to let go and to move on,
this is the way it seems
to be. Bang the drum, baby.

Gagamba by F. Sionel Jose

The date of the mid July 1990, the earthquake happened and so many people died in the natural disaster, rich, beggars, old, and all kind of creatures are being suffered because this earthquake is the strongest recorded in the Philippine history. Gagamba a sweepstakes’ vendor located in the Ermita restaurant also known as Camarin. Gagamba is not a beggar nevertheless he had a casualties and defects in his body. He was born with short limb that why he always stays in his cart to move and work to have food every day. All of the costumers are being known by gagamba and their stories, gagamba told the story all costumers og camarin restaurant. The first one is a landlord, Fred Villa.
The big boss of Camarin because madam Didi was migrated in the United States and Fred was being appointed to take charge of the business. His girls are well selected to work in the Camarin, All of the women in the Camarin would be tested first by Fred and one of them is Lina an eighteen year old girl from Pampanga. She was beautiful not taller but in the average height. Her family is in the middle class but her studies not so well supported by family that why she found a job like this.
There are costumer, Mars Floro who waited to her but Fred Villa where tested her first. The next character was a Cebuano; Joe Patalinhug arrived on November in 1989. In the first day in manila they are slept in a culvert intended to the bridge construction site in Tondo Manila. After a month’s they know that there’s a people from Cebu was staying in the squatters area in Paranaque that Joe’s family can live. They life is worst than their life in Cebu before because they have only a little rice and some salted oyster mussel. He live his wife in Tondo and went to Paranaque alone to have a better life and find a job that suits his capacity.
The next character was apparent and a regular costumer of Camarin. He is Pedro (pete) Domingo, he is youthful and still wavy hair in place and lived at the squatter area close to the Rizal Memorial stadium. The place was once swum, and being criticized by other people, Although Rizal and his children lived in squatters surroundings. Rizal had discovered his wife had a cancer, two months to live. His children do not know what to do and Rizal makes all way to cure and extend the life of his wife. He tried so many faith healers one of those was the faith healer of former president Marcos. He tried going to Quipo and completing the nine days on novena and to the Baclaran. He wishes to God his wife would be spared not to death because all men die, but the pain that she was now suffering. Eric hariyan and Gaston was best friend in university of the Philippines.
`While Eric is joining in the Law firm of lastog, Cacab and Rawet. One of the biggest law firms in the county. They are jailed in camp Crame because they oppose to government of President Marcos. They have experienced together nevertheless they have so many differences they were stay as best friend, While Eric invited him to meet Rudy Golangco, perhaps Marco’s closest crony. While Marcos dictatorship change the ownership the majority stock went to Rudy Golangco. Lastog want to meet him because e want to interrogate asked at so many issues before about him. First he research and finding all the information about him and use his knowledge as a lawyer and give so many question hat Rudy cannot be known.

Maynila, Pagkagat ng Dilim

Bakit itinuturing na isa sa mga pinagpipitagang pelikula ni Direktor Ishmael Bernal ang Manila By Night (Regal Films, Inc.)? Ating balikan ang pelikulang umani ng papuri mula sa mga kritiko noong taong 1980. Kilala si Bernal sa paggawa ng mga pelikulang puno ng iba't-ibang pangunahing tauhan. Tahasang isinaad sa pelikula ang suliraning pang lipunan sa kalakhang Maynila. Mula sa isang simpleng tinedyer (William Martinez) na anak ng dating putang nagbagong buhay (Charito Solis) hanggang sa isang tomboy na drug pusher (Cherie Gil), may bulag na masahista (Rio Locsin), nariyan din ang taxi driver (Orestes Ojeda), ang kabit niyang nagkukunwaring nars (Alma Moreno), mayroon ring probinsyanang waitress (Lorna Tolentino) at ang baklang couturier (Bernardo Bernardo) na bumubuhay sa kanyang pamilya. Iba't-ibang buhay ng mga taong pinagbuklod ng isang malaking siyudad. Tinalakay ng pelikula ang problema sa droga, prostitusyon, relihiyon at kahirapan na magpasahanggang ngayon ay mga suliraning hinahanapan pa rin natin ng solusyon. Maraming nagkumpara ng Manila By Night sa obra ni Direktor Lino Brocka ang Maynila Sa Mga Kuko Ng Liwanag. Kung saan nagkulang ang pelikula ni Brocka ito naman ang landas na tinahak ng obra ni Bernal. Hindi lamang nito ipinakita ang lumalalang situwasyon ng kahirapan sa Maynila sa halip ay hinarap nito ang ibang mga isyung hindi tinalakay sa pelikula ni Brocka. Sa aspetong ito mababanaag ang malaking pagkakaiba ng dalawang pelikula. Kung panonoorin sa ngayon ang Manila By Night masasabing may kalumaan na ang tema nito, di tulad ng unang ipinalabas ang pelikula sa mga sinehan. Matatandaang kinatay ito ng Board Of Censors sa utos na rin ng Unang Ginang na si Imelda Marcos dahil taliwas ito sa imahe ng Maynilang ipinagkakapuri ng administrasyong Marcos. Halos lahat ng linya sa pelikulang sinabi ang katagang Maynila ay pinutol. Pati na rin ang mga maseselang eksena sa pelikula ay iniklian o kaya ay tuluyang ginunting ng opresibong sensura. Hinarang din ng gobyerno ang dapat sanang pagpapalabas ng Manila By Night sa Berlin Film Festival.

Makaraan ang dalawampu't anim na taon mula ng ipalabas ang Manila By Night ay masasabing halos walang binago ang panahon kung susuriin natin ang mga suliraning pang lipunan ng Pilipinas. Nariyan pa rin ang problema sa mga ipinagbabawal na gamot, ang prostitusyon at kahirapan. Sino ba talaga ang dapat sisishin sa lahat ng mga ito? Ang pamahalaan ba? Tayong mga mamayan? Hanggang ngayon wala pang sagot sa mga tanong na ito. Nararapat nating pasalamatan ang mga direktor na tulad ni Ishmael Bernal na sa pamamagitan ng paggawa ng mga obrang tulad ng Manila By Night, isang pelikulang nagmulat sa ating kaisipan sa suliranin ng bansang Pilipinas.

BALIW

Ang natutuwang baliw yaman ay pinagyabang
Dahil ari niya raw ang araw pati ang buwan
May isang sa yaman ay salapi ang hinihigan
Ngunit ang gintong baul panay kasalanan ang laman

Sinasambit ng baliw awit na walang laman
Ulo mo'y maiiling tatawagin mong hangal
May isang hindi baliw, iba ang awit na alam
Buong araw kung magdasal, sinungaling rin naman

Sinong dakila
Sino ang tunay na baliw
Sinong mapalad
Sinong tumatawag ng habag
Yaon bang sinilang na ang pag-iisip ay kapos

Ang kanyang tanging suot ay sira-sirang damit
Na nakikiramay sa isip niyang punit-punit
May binatang ang gayak panay diyamante at hiyas
Ngunit oras maghubad kulay ahas ang balat

Sinong dakila
Sino ang tunay na baliw
Sinong mapalad
Sinong tumatawag ng habag
Yaon bang sinilang na ang pag-iisip ay kapos

Ooh.....Ahh.......

Sa kanyang kilos at galaw tayo ay naaaliw
Sa ating mga mata isa lamang siyang baliw
Ngunit kung tayo ay hahatulang sabay
Sa mata ng Maykapal, siya'y higit na banal

Sinong dakila
Sino ang tunay na baliw
Sinong mapalad
Sinong tumatawag ng habag
Yaon bang sinilang na ang pag-iisip ay kapos

Kaya't sino, sino, sino nga
Sino nga ba
Sino nga ba
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Friday, February 25, 2011

Though You Tell Me Not

Though You Tell Me Not

By: Evangeline Guerero
Translated by: Alfredo S. Veloso
I know you love me, though you tell me not, I know you hold me captive for always In the strong nets of your life, Celestial thurible of a perennial dream.
Though you tell me not that without me You cannot live, My desire tells me ‘tis all true: That many sad flowers girdle your forehead If when depressed, you think of an Awakening.
What shall I tell you? I look at you… and I am silent. Well do you comprehend now my deep Silence. The star turned flower in the distant sky Contemplates its shadow on the waters Without fear.
Let my sorrow on your breast repose, Like a weary traveling dove. Beneath the tepid shade of the tranquil Orchard Let us the kind caress of peace enjoy.
May repose be a song, a serenade, While in the hour serene we baste The ripened dreams of past epochs That with effluvium fill our old souls.
Though you tell me not you think of me, That all of me in your heart you keep, Return to remembrance shall I and finding You, Though you tell me not I shall know that It is love!

Si Anabella

  ni Magdalena Jalandoni

 

  Unang inilathala ang maikling kuwentong “Si Anabella” ni
Magdalena Jalandoni sa libro ni Corazon Villareal,
Translating the Sugilanon  (1994, 135-141). Kalakip ang
orihinal nito sa isang lupon ng mga makiniladyong maikling kuwento
ni Jalandoni, na pinamagatang Hinugpong nga mga Sugilanon 1936-
1938.  Nailathala din ang saling Filipino ni Villareal sa nirebisang
edisyon ng antolohiyang Philippine Literature: A History and
Anthology (1997, 151-154) ni Bienvenido Lumbera.
Sa unang pagsipat ng kuwentong “Si Anabella,” ating iisiping
taglay nito ang pormula ng mga romantikong kuwentong laganap
noong panahong ito’y nasulat, sa pagitan ng mga taong 1936-1938.
Magsisimula ang melodramatikong banghay sa pag-iibigan ng
dalawang magkaiba ng estado sa buhay, hahadlangan ito ng palalong
ina ng mayaman, susubukin ang katapatan ng magkasintahan, aangat
ang estado ng mahirap sa di inaasahang paraan upang sa wakas ay
magsasama uli sila, at magtatagumpay ang kanilang wagas na pag-
ibig.
Sa pagbubuod ni Villareal sa banghay ng kuwento, may
naidagdag siyang ilang detalyeng hindi binabanggit sa kuwento.
Halimbawa, na sumayaw ang magkasintahan sa tahanan ng binata,
at kinainggitan sila ng lahat; na nagsanib ang liwanag ng buwan at
ningning ng bituin sa loob ng isang gabi (1994, 13; aking salin mula
sa Ingles):
4748
“Si Anabella”
Isang pagunitang paglalakbay sa panahon ng dekada
treinta ang kuwentong “Si Anabella.” Isang gabing
maliwanag ang buwan at mga bituin, hinarana ng
binata ang dilag ng kaniyang biyolin. Sa himig ng
isang buong orkestra, sumayaw sila sa malawak na
sala ng malapalasyong tahanan ng binata. Nguni’t
ang binata’y mayaman, at inilayo siya ng kaniyang
ina sa kaniyang pinupusuan. Subalit buong tiyagang
naghintay si Anabella sa pagbabalik nito, at sa wakas
sila ay muling nagsama. (“Anabella” is a nostalgic
trip to the ‘30s. The beau serenades his love with a
violin on a moonlit and starry night, they dance in
the spacious sala of his palatial home to the strains
of a full orchestra, they are the envy of everyone
on the dancefloor. But he is rich and his mother
takes him away from his lover. Anabella, however,
waits patiently for his return and eventually they
are reunited.)
Kung magpatianod ang isang mambabasa sa romantikong
tradisyon, maaari ngang aakalin niyang may taglay itong mga
romantikong sangkap na sa katunayan ay hindi naman makikita sa
kuwento mismo. Hindi naman lubhang mali ang ganitong paraan
ng pagbasa kung ipinapalagay na ang kuwentong “Si Anabella” ay
akmang halimbawa ng isang makaluma’t romantikong kuwento.
Dagdag pa ni Villareal bilang komentaryo sa kuwento (1994, 13):
Maaaring sabihing pinapatibay ng “Si Anabella” ang
puna ng mga manunuri hinggil sa kahinaan ng
panitikang bernakular sa Pilipinas: na ito’y dulot
ng “malagkit na romantisismo,” “walang kaingatan
sa teknik,” pagkabuhaghag ng estruktura,
“didaktisismo,” at “sentimentalismo.”  (In a way,
“Anabella” confirms what critics have listed as the
weaknesses of vernacular literature in t