Pictures of Book Contract Signing Cecilia and USC Press

The University of San Carlos Press of Cebu will be publishing my book, OUT OF CEBU: ESSAYS AND PERSONAL PROSE. Here are a few pictures taken during the contract signing. The book should be done in 2-3 months, although the formal launching or celebration won't be until I come back to the Cebu for Sinulog 2012, God Willing.

The pictures show me with Father Miranda, and Dr. Jobers Bersales (in red).

WHERE THE DAYDREAMING CAME FROM, by Cecilia Manguerra Brainard

Click on Reprint with many pictures

(I'm sharing this personal essay to my readers. Copyright 2009 by Cecilia Brainard)

WHERE THE DAYDREAMING CAME FROM
Cecilia Manguerra Brainard
(part of the anthology Cebu We Know (Anvil 2009, Ed. Cuizon)

I have always been prone to daydreaming, traits which sometimes got me into trouble. “Pay attention, Cecilia!” the nuns used to tell me. The upside to the daydreaming is that the active fantasy world led to storytelling, which led me into writing.
But let me trace my beginnings to see where this daydreaming came from.

I was born and raised in the island of Cebu where my mother’s people came from. My father and his people came from another part of the Philippines – the North, Laguna specifically, where people spoke another dialect and ate meat and vegetable dishes with strong flavors. Laguna used to fascinate me for the simple fact that my father was born and raised there. Otherwise, it looked like any other provincial town, with a city hall, old church, and Spanish colonial stone and wood houses. I never lived there and only heard secondhand stories about my father’s family, about how, for instance, they had owned huge tracks of land which my grandfather gambled away. Laguna was a kind of mythic place which I didn’t really know.

It is Cebu I know. The very first breath I took was in Cebu. My first words were those spoken by Cebuanos. Even though I’d gone on to live in other places in the world, it is as if I carry a part of it within me always and likewise I feel as if Cebu has a place for me always.

My mother was in the nearby island of Opon for the fiesta of the Birhen sa Regla (Virgin of the Rule), patroness of the place, when her birth pains came. This was in 1947, two and a half years after Liberation. She had to catch the ferry to hurry to St. Anthony’s Maternity Clinic in Cebu City. It was Doctora Ramona Fernandez who assisted her. She had to be summoned when the waves of pain came in the early morning. On November 21, at 8:30 a.m. I was born, the fifth child of my mother, although one had died during wartime and so I grew up with three siblings. I was a large baby, almost 10 lbs, but with beriberi, a disease caused by thiamine deficiency and characterized by edema, weakness, irritability, and more serious problems such as heart problems. My mother suffered from lingering effects of World War II when she carried me in her womb. She was malnourished, which meant I too was malnourished. The lack of Vitamin B1 caused the beri-beri and I almost died.

My mother turned to the Santo Niño de Cebu, the Child Jesus patron of Cebu, famous for being miraculous. She danced her prayers just like the women you can still see shuffling their prayer-dances in front of the old stone church that houses the beloved Child Jesus. For the rest of her life, my mother always reminded me of my debt to the Santo Niño. “You owe your life to him,” she said, as she dragged us to hear Mass in the Santo Niño church. There I watched women dance their prayers and walk on their knees down the center aisle, and I smelled incense and burning candles, and looked in awe at the small-sized Niño clothed in red robes, while waiting for the interminable Mass to end. I continue to make it a point to visit the Santo Niño when I’m in Cebu.

Back in 1947 - from the clinic, I was brought to the house my family lived in, in Talisay. It was a temporary dwelling, a place my parents and their three children stayed in after the war ended. When they first got married, my parents lived in Manila but when World War II broke out, they evacuated to Mindanao, traveling by outrigger boats, with their two young children and some servants. My father joined the guerrilla movement in Mindanao, and there they had to move and hide from the Japanese soldiers. It was there where my mother gave birth to her third child behind some bushes with a Japanese patrol walking nearby; it was there where she lost her fourth child, a boy, whom we never discussed but who had taught my mother about the fragility of babies and life in general. The beri-beri had frightened her and when I was a girl she made sure I got my Vi-Dalin vitamins daily, and I had to drink milk every morning with breakfast. In the evening she made me take one raw egg – the whole slimy thing. She was constantly prodding me to eat, giving me choice morsels from the dining table, chicken gizzard and liver for instance. I recall a supper episode when I had to eat some dreaded vegetables, and finally to silence my mother I pretended to chew the veggies, only to secretly spit them into my hands and give them to one of our Police dogs.

That first house in Talisay belonged to my mother’s brother. The house was made of wood, on stilts, like a big nipa hut. It was situated near the sea and so early on I slept and awoke to the sound of waves lapping the shore and to fishermen shouting as they beached their outriggers. I was used to taking in the sea breeze and to having salt on my skin and in my hair. I was carried through coconut groves to the sandy beaches where I wondered at all the living things scampering on the gray sand, and where barefoot women sold fried bananas skewered together, and dripping with caramelized sugar. I ate rice, fish, pork, chicken, seaweed, mallungay, sweets made from coconut and sugarcane, and other simple straightforward foods still eaten by Cebuanos. Even now I will hanker for inununan, fish cooked in vinegar with crushed garlic, salt, and pepper.

My father worked as a District Engineer. He had done other things before the war but I’d only heard bits and pieces that he’d been to Thailand, that he’d worked for some bureau, and that he’d even worked in Indiana where he’d gone to engineering school. By the time I was born, he has 59 and had already led a full life. But I think that the more memorable things that my father did was teaching at the engineering department of the University of the Philippines, fighting as a guerrillero during World War II, and constructing roads and buildings, many of them still existing. I do not think I picked up my daydreaming from him because he was a very logical, methodical person.

I am not sure I got it from my mother either, who had a keen business mind, although she was more helter-skelter than my father. My mother said she was malnourished when she was carrying me within her because she would sometimes forget to eat. She and her lifelong friend, Mercedes Rodriguez, had a buy-and-sell business, and they sold things like army surplus goods and fire wood, and just about anything they could get their hands on. Later on, they went on occasional trips to Hong Kong to shop for merchandise to sell. All her life, my mother was busy with her business ventures. I’m sure that in Talisay, we children were left in the care of servants. My sisters talk of how my mother’s sisters looked down on us children because we smelled of fish or were not dressed nicely. This was possible since my mother came from a political family with some pretensions, and the kind of down-home style of living we had in Talisay was probably too “country” for my aunts who carried some ancient sibling rivalry with my mother. My mother’s sisters also questioned why my siblings attended the local public school instead of a private convent school. And why were we living in a glorified nipa hut as if it were still wartime and we were in the hinterlands of Mindanao?

It was probably my father, with his logical, methodical mind who decided we had to move to better quarters sooner or later. The event that may have precipitated our departure from the place was the horrific typhoon that blew into Cebu. The heavy rains caused waist-high floods and the violent sea rose and roiled up the local cemetery so that corpses floated about on the flooded streets. There were stories, which I can picture in my head as if they were my own experiences, of my siblings swimming through flooded streets to get home from school. Shortly after this, my parents finally talked about building their home in the city.

My mother’s brother helped my parents acquire the land in Cebu City, where they finally built our home, across some corn fields, near a river and the foothills, an area that was sparsely populated and remote. My father drew the plans and hired workers to construct the house. It was a Spanish-style house, with balconies, marble floors and crystal chandeliers. The surrounding grounds were spacious and my mother did most of the landscaping – fruit trees mostly – jack fruit, star apple, guava - flowering shrubs and low flowering plants. There was a teeter-totter and canopied swings so that even grownups could sit on the swings in the late afternoon to enjoy the cool breeze and supervise the gardener as he swept dry leaves and branches and burned them. We believed the smoke drove away mosquitoes and other insects. There was the main house with the kitchen, living room, dining room, bedrooms, bathrooms, veranda and balconies. There was another structure for the servants and for the cooking on the open hearth. There was a water tank and way in the back of the property was a garage, storage building, a place that I rarely visited because rats and monitor lizards lived in there, and more importantly, the nearby jack fruit tree had an agta, an enchanted black giant living in it. Needless to say there were endless stories about the agta, how the servants, even my brother had seen him one night when the moon was full. There were some other creepy happenings in our house: a maid became possessed and had to be exorcised by the Redemptorist priests; on Lent strange happenings would occur and all credited to the encantados that lurked around the area.

Indeed living in that house stimulated my daydreaming abilities because there were endless supernatural stories, as well as down-to-earth stories like love affairs and out-of-wedlock pregnancies. The radio soap operas in the early evening were also good primers in make-believe, because most evenings the servants listened to the convoluted plots dealing with love, revenge, and other deep human passions, all interlaced with conflict. I would sit and listen with them, in the outside kitchen with the open hearth, where I watched live chickens being decapitated for that night’s supper.

After a few years, the trees my mother had planted grew tall. I loved to climb the tall star apple trees with slender branches. There I indulged in fantasies about enchanted forests and magical giant pearls found in the heart of a banana fruit – the mutya. Sometimes I would get utterly lost in my dream world and would miss the call for lunch. Grumbling, my sister would have to threaten me in order for me to come down from those beloved trees.

When I was four my mother enrolled me in St. Theresa’s College. This ended the unhindered daydreaming I had in that house. My life became more regimented: up at 6 a.m., shower, don on the starched blue-and-white uniform, eat breakfast, leave for school by 7:15; first class at 8 a.m. I learned about rules and homework and sitting still with my hands folded together. This was the time I started to get scolded for daydreaming, that is for “not paying attention.” However the nuns did allow daydreaming when it came to theatrical plays and theme writing, which I loved. But I would say this was the time when I learned about discipline more than daydreaming.
###

Interivew of Cecilia Manguerra Brainard by Luis Diores

Interview of Cecilia Manguerra Brainard by Luis Diores for the book project of the Cebuano Studies Center:

1. Being a Filipino writer in America, what would you say is the biggest hindrance or obstacle in writing about our rapidly evolving culture?

The biggest hindrance or obstacle is that it’s difficult to publish. It's difficult for all writers, but if you are a Filipino writer in the United States there is a more limited market and so it is harder to find a publisher in the U.S. It is probably easier for a Filipino writer to find a publisher in the Philippines because the readership would be wider.
2. Who are major influences in your writing?

The Cebuana writer, Lina Espina Moore, who was my mentor and who became a friend, influenced my writing a lot. When I started writing I had difficulty with the Filipino voice. I had read so much Euro-centric material, beginning with Dick and Jane in Kindergarten and so on. Lina wrote about Cebuano topics in both Cebuano and English. I'd read her novels and short stories and studied how she was able to express Cebuano culture and Filipino culture using English. She was able to give me encouragement and ideas about how to write in English about our Filipino culture. She used to say, "Write like you talk." Writing is not exactly like that, but I understood what she meant.
3. You are gifted in three large areas of literature – writing, editing, and teaching. Which area do you enjoy and dwell on the most?

The three of them intertwine. Writing came first and then teaching and then editing. I enjoy them all; they use different energies from me. If I’m tired doing one thing, I can do another activity and it refreshes me. For instance writing and editing are solitary activities, and so when I teach and I'm in contact with students, that’s another kind of energy . I’m with people and I’m relating with them instead of being alone in my dreamworld.
4. What message would you like to send to many Filipinos who are clamoring to get out of the country?
The Philippines is very beautiful and there are very many opportunities here. I think that the people who leave the Philippines find out that they could have used their talents in this country as well. I know that our population is very large and therefore our resources are limited, and I know that in some other countries it is easy to find work and to acquire material things like cars, homes, and so on, but many of our retired Filipinos come back. Many of them return to the Philippines because no matter how far you are, you still feel an attachment to your home.
5. What do you find is the prevailing theme in everything you write?
I tend to explore Filipino and Filipino-American history and culture. You'll find that in many of my writings. I have also been told that I write about Filipino women a lot. This is not a conscious thing I do, but people come back to me and tell me this. So I think that those are the two - Filipino/Filipino-American themes and women.
6. Do you use different writing processes when you write different forms of literature such as fiction and essays?

To me, writing essays and writing fiction are different. Fiction is organic to me. I cannot really outline it. I may have a little plan, but that can easily change. I generally follow character and character development in fiction writing. Essays are a more intellectual process and so I can outline these. I can follow the English composition style in terms of writing the essays, but definitely not for fiction. They are different.
7. How does your Philippine education influence you as a writer?

Philippine education, or Philippine culture, or my Philippine background mean a lot in terms of my writing. These have given me my point of view, my unique perspective in terms of seeing the world and dealing with my fictional characters. It is from the Philippine or Philippine-American point of view that I deal with them as opposed to a Euro-centric or American-centric point of view.
8. This is a little cliché, but as an aspiring writer, I ask what advice you can give to those young men and women who want to be in your place someday?

I have given this advice many times. You have to be persistent, that is to stick with it. You have to read a lot because reading and writing go hand in hand. Read the kind of writing that you would like to do, that is if you want to be a poet, read poetry, if you want to be a novelist, read novels. It helps a lot if you belong to a workshop, if you are with other writers. If you are working alone, it’s difficult because you need feedback for your work. Further, if you’re with other writers, you can encourage one another other.
9. What aspects of American and Philippine culture do you incorporate in your writing? Do you try to balance both?
I've lived in the United States ever since I went there to go to graduate school. I've had to deal with two cultures ever since - Philippine culture as well as American culture. And perhaps I've had to deal with a third culture - Philippine American culture, because Filipinos in America have developed their own style or culture if you will. I don't know about balancing these cultures. I am who I am, and I explore topics that interest me. I know that history is interesting to me. I have explored Philippine as well as Philippine American history in my writings. I've written about Cebu, although I've turned it into a fictional place called Ubec.
10. If there is a conflict between expressing an idea and violating a grammatical rule, what would you choose?

Grammar is a tool, so you can break grammatical rules. It’s the artistic thing that must be followed first. But you need to understand that when you break rules there is a price. For instance, breaking a particular grammatical rule might make your writing confusing. You need to be aware of that, and you need to weigh the consequences: Do I still want to break this grammaticul rule, even if doing so makes my work confusing? It's best to get your writing workshopped. That way people can come back and say, “This was very confusing; it needs more work.” Or “Yes, this is something new, refreshing.”
11. So you were part of a workshop?
Yes, in the United States. The workshops were very helpful. The process is invaluable. I suppose some people can write on their own but the problem is that at a certain point you can’t see your work anymore. You lose objectivity. Having other people point out the strengths and weaknesses of your writing helps. It's like a mirror reflecting your work back to you. It doesn't mean you change your work according to what people say; you are the author you make the final decisions. But the feedback allows you to better assess your work.
12. What I love so much about your work is its richness in Philippine culture, do you write about it because of your love for the country or because you miss it so much? Or both?

This is all I have to offer, you see. I know some writers who belong to a particular culture, for instance an African American writer who writes about White protagonists and White themes. When you read his work, you would think it was written by a White person. That is not how I wish to write. I have chosen to write about what is closest to my heart. I can only explore what I am, that is what I try to look at, is this Filipino-ness and this Filipino-America-ness.
13. These days, where do you draw all your inspiration from?

It's important to professionals to have deadlines. Inspiration can only do so much; it can come, it can go. I have deadlines. I have projects that are ongoing. I’m working with a co-editor on a book, an anthology called, “Finding God”. So we have a deadline for that one. I have my own creative writing which I don’tlike to discuss for superstitious reasons. There is a saying that goes, if you can talk about it, why write it.

I have a lot of things going on.

I get ideas. My co-editor and I finished two book projects. The last one won an International Gourmand Award and so we talked and said, “Why don’t we do this?” and we decided to do Finding god. I’m not exactly sure where it comes from but when it’s there the energy is strong and that’s what will make it happen.
14. After all your years of writing, what work do you particularly love and are proud of?
It’s a little bit hard to say because each book project is like a child. I love each book I have done; each book had its own demands on me and required something from me. I have a very strong affection for my first novel which was published in the Philippines as “Song of Yvonne” and in the United States as “When the Rainbow Goddess Wept.” That one was not easy to do. It’s fiction but I used the stories that my parents told me about World War II. It's used in schools both in the Philippines and the U.S. It was recently translated into Turkish.
15. Most of your stories are set in the Philippines rather than the U.S., why is this so?
When I was growing up a lot of the history taught to me was from a Euro-centric point of view, things like, "Ferdinand Magellan discovered the Philippines in 1521." The truth is that Magellan did not discover the Philippines. The islands and people already existed long before he showed up. As I became older and read more I realized a lot of the things we know or think we know and perceive is from a Euro-centric point of view. What I tried/try to do is see things from the Filipino or Filipino-American point of view. For instance I could be working on a turn-of-the-century story. I'll have a lot of fun imagining how things actually were at that time: what the streets and lampposts looked like, what the houses looked like, what clothes people wore, how people thought, what events affected their lives. Take a look at the American-coined word, "Insurgents" about the Filipino rebels of the turn of the century. That word is loaded with negativity; the correct word should be "Nationalists." This is another example of how a Euro-centric point of view can change reality.
16. Some may accuse you of exoticizing the Philippines, how do you respond to these comments?

Well, I don’t know about exoticizing the Philippines. My only comment is let these accusers try it - let them write and publish the stories, essays, novels that I have; let them edit the books that I have. Let them try to get the awards that I have received. You know, it’s very easy to sit and criticize. Usually what I find is that the people who criticize me most are the ones who haven’t written a single novel, so I invite them to write and publish their first novel and then come back to me and make all the comments they want about my work.


The stories and books coming out of me are all I can offer. That’s the best I can give. If they're not good enough for some people, then too bad.

MORE INFO RE JUANA LOPEZ, REMEDIOS DIOSOMITO CUENCO

I was thrilled to have heard from a relative, Percival Cruz, who emailed the following. FYI Juana Diosomito Lopez was my great-great grandmother; Remedios Diosomito Cuenco was my great-grandmother. Following are important genealogical info re the Diosomito, Lopez, Cuenco, Manguerra, Reyes, Gonzales, Borromeo families of Cebu:
~~~~~~~
Dear Cecilia,

It has been a while since I last wrote you. Rest assured though that I have not forgotten; I visited your websites and assimilated the wealth of information you have put together about you and the Cuenco family.

My mom, Patrocinio Diosomito Lopez Fojas Cruz, passed away in 1986. Whatever information I have about the Lopez family I had heard from her.

Remedios, your great grandmother, was the sister of my grandmother, Concepcion (Lola Cion).

Their mother, Juana Diosomito was married to a Lopez. The Diosomitos and the Lopezes were and still are natives of Naic, Cavite. Juana's first husband was a Spanish priest (or ex-priest, maybe). Again, this is the story of my mother and something that I have not documented. Juana's 2nd husband was a Veloso from Baybay, Leyte.

My Lola Cion owned and rented out houses and apartments in Tondo. She may have inherited these properties from mother Juana. Juana may have owned properties in Naic and Tondo, as well as, in Leyte and Cebu.

My Lola Cion never left Luzon Island. On the other hand, her sister, Remedios, migrated to Cebu.

Did mother Juana who got remarried to a Visayan from Leyte, a guy named Veloso, migrate to Cebu and take along daughter Remedios; while daughter Concepcion remained in Naic and Tondo? Very possible.

My mother used to tell me that her grandmother (Juana) owned lands in Leyte and Cebu. My mother also introduced us to the idea that we had relatives in the Visayas, which I found weird at that time. No one in the family spoke Cebuano nor talked to any.

I am among the youngest in a family of 10. I did not have a chance to interact with my Visayan relatives. Our eldest brother, Berting, worked in a boat that sailed regularly between Manila-Leyte-Cebu; he met Tio Menggoy (Domingo Veloso), who was either part owner or manager of the boat. One other elder brother, Feodor, met Archbishop Jose when I was in elementary (1956). He entered the San Vicente Ferrer seminary in Iloilo under the sponsorship of your uncle Jose. I remember my parents accompanied Feodor on this trip to Iloilo. A younger brother and sister made it, too; but I was left behind at home and did not have a chance to meet the Archbishop. My sister, Judith, worked as a secretary at the office of Tio Menggoy (did he become a congressman?). And my other elder brother, Walfrido, worked at the Congress at the behest of Senator Cuenco. In fact, my father worked also at the Senate and I would like to believe that it was your grandfather who made it possible. I also overheard my father that the good senator worked out an appointment for him to be a judge in Cotabato but my father declined. Had my father accepted that job, maybe I would have become a general in the Abu Sayaff army. While I was in U.P., I heard about Tony Cuenco. He was my senior. I did not have a chance to associate with him, though. My mother used to go to the senator's house somewhere near Sto Domingo Church to see your grandpa.

Concepcion Lopez who got stuck in Luzon was a good businesswoman. I remember my mother telling me that she owned houses in Tondo. My mom got her education at an exclusive all-girl school called Instituto de Mujeres, took up piano lessons and became a town beauty queen during her heydays. My father was a poet and novelist (he was a contemporary of Amado V. Hernandez). My father and mother met in one of those beauty queen coronations. My father recited a poem for my mother, they fell in love, and then they went on their happy way for 70 years. By the way, it might interest you to know that my father's collection of novels was published by the Ateneo and it is being used to this day as a textbook in college.

Concepcion Lopez may also had had a part in a "calesa" business; she had a sister-in-law or cousin (now I am not sure which) who became well-known for owning a fleet of "calesas"; she was Rosa Fojas who became known as the "Reyna ng mga Cochero" ("Queen of the Coachmen").

Remedios and Concepcion were both very enterprising, strong women. Remedios produced a congressman, a governor, a senator and an archbishop. Had Uncle Jose lived longer, he would have become a cardinal, too. That Remedios also became the first woman publisher -- wow!--
her accomplishments are really mind-boggling! I'm sure her genes rubbed off on you.

Other famous Lopezes, Fojases from Naic, who I'm sure are also our relatives --
Rosario Lopez - the former chairman of the Securities and Exchange Commission
Dr. Marcos Fojas - the eye surgeon
Gen. Nazareno - PNP head during Cory Aquino's term
Judge Noel Diosomito
Felix Fojas - poet, writer

Good Friday is the traditional reunion day for the Lopezes/Fojases. The clan gathers in Naic, Cavite and fulfills the vow of having the 2-day "Pabasa" and "Prusisyon" in honor of Jesus. The family has an antique heirloom --- a black Nazarene lying in state ("Santo Intierro").

I have a famly tree -- just did it at Geni.com -- if you're interested, I can give you the link.

So long for now, I'm proud to have you as a relative.

Percival
Burbank, California
~~~
Photo shows Remedios Diosomito Cuenco with her family

RE REMEDIOS CUENCO BORROMEO

Here's an interesting email correspondence re my grand-aunt Remedios Cuenco Borromeo:
~~~
The only girl in the Cuenco family is Remedios Cuenco Borromeo, she is the only sister of your (grand)father. Although she was not that famous she was gifted in her own right. She was an accomplished pianist and acclaimed writer. She also wrote so many stories in the Veritas. You failed to mention her in your letter to your mother. By the way I am your relative living in Chicago, Illinois. Please acknowledge her existence. She was very dear to me.
from: Angelica Borromeo
~~~~~
Thank you for writing. I have been wanting information about Tiya Edyong. I heard she was a "storyteller." Do you have more info? - her date of birth, name of her husband, number of children, schooling, when she died. And if you can send me copies of her writings, I would be THRILLED. And info re her grandchildren too.

I visited her when I was young and by that time she was half paralyzed, but she always had a sense of humor. (She was the sister of my grandfather Mariano J. Cuenco ) - I remember she said something like, "It's a good thing many of their silbings died, otherwise the Philippines would be in a revolution because of the Cuencos" - she was referring to their volatile nature.

Yes, I would LOVE to write about her, but please give me info.

I did not mean to leave her out in the Cuenco site - I just had little information and pictures about her. I was always interested about her, especially when I heard she was a writer. Pls. do send info, her writings, maybe pics, info. thanks!!!!

My mother was Iton Cuenco; in case you knew her. I was the youngest in the family. I've always been interested in family stuff.
From: Cecilia Brainard
~~~~~
I have to talk to my sister Titus. She has some info. I was young when Lola died. I will get in touch with you as soon as I get some more info. I have old pictures of her with husband and my dad Peping. Thank you so much for your interest.
From: Angelica Borromeo
~~~~~~~~
I remember Tiyo Peping! And I am sure we met each other when we were children in Cebu. I remember Mitos - is she your sister?
I have another questions - I remember Tiya Edyong, but the old photo I have showing the Cuenco siblings have her name down as Dolores. Was she Dolores? Or Remedios?

Pls. send me info. I gather what I can about the Cuenco genealogy. You will also find some more info not just in the Cuenco site, but also in my blog - also some Old Cebu historical info. My current friends in Cebu are historic Old Cebu enthusiasts.

Your Dad and my grandfather were first cousins.

Let me know what you find out!
From: Cecilia (I was known as BAby)
~~~~


As soon as I have more information about Remedios Cuenco Borromeo, I'll update the Cuenco site, but in the meantime, do visit: http://www.palhbooks.com/cuenco.htm

LEON KILAT PHILIPPINE REVOLUTIONARY HERO

In Carcar, Cebu, there is a monument honoring the revolutionary known as Leon Kilat (Lightning Lion), whose real name was Pantaleon Villegas. My maternal grandmother, Filomena Alesna, was from Carcar, and so growing up we used to visit Carcar. The white monument of a man on a horse became part of Carcar's landmarks, along with St. Catherine's church and school, and the rotunda in the middle of the highway.

My mother used to point out the old house where Leon Kilat had been assassinated, but the story was always vague. What I understood was that Leon Kilat had been a revolutionary and he was assassinated by one of his men.

My history teachers and books weren't much help either, primarily because Philippine history was taught from a Tagalog-centric point of view. We were taught that Andres Bonifacio founded the Katipunan, which had serious battles with the Spaniards in 1896. The Katipunan sent Leon Kilat to Cebu to work with the Cebuano revolutionaries. This happened in the summer of 1898.

Leon Kilat was born in Bacong, Negros Oriental, and he had worked in Cebu and in a circus in Manila where he met a Katipunero. He was said to have possessed an anting-anting (talisman) and had magical powers. He was a Visayan but not a Cebuano. In San Nicolas, Cebu, he was tentatively accepted by the Cebuano revolutionaries, ancestors of numerous Cebuanos - Noel, Alcoseba, Barcenilla, Alfafar, Abellana, Gundoy, Cui, and others.

An earlier battle with the Spaniards was successful and the Spaniards had to retreat to Fort San Pedro. But the Spaniards quickly dispatched a ship to Cebu. When the revolutionaries heard about the Spanish ship, they retreated to Carcar.

On April 7, 1898 (Holy Thursday), Leon Kilat was in Carcar. His plan was to attack the Spaniards on Easter Sunday in Carcar. Leon Kilat was treated as an honored guest and he stayed in the house of Tiyoy Barcenilla. Upon Leon Kilat's request, a tailor took his measurements because Leon Kilat wanted a new uniform to wear the next day. A feast was prepared in the Barcenilla House for Leon Kilat and guests.

What Leon Kilat did not know was that one of the men, Florencio Noel, had met the Spanish friar, Father Francisco Blanco. Father Blanco had reportedly told Noel that the only way Carcar would escape Spanish retaliation was if Leon Kilat would be killed.

So, on the night of Holy Thursday, goat, chicken, pork were served to the men at the Barcenilla House, and afterwards, the men drank coffee and Ginebra (gin) in the living room. Meantime, the Carcar men who had decided to do away with Leon Kilat, became ill at ease, and they whispered among one another, and in fact, Apolinario Alcuitas shouted in Cebuano, "Brothers, I am informing all of you that tonight, I will slaughter a horse."

All of this apparently went unnoticed by Leon Kilat, or perhaps he had too much Ginebra, because he didn't flee. He went to bed, in the room near the stairs of the Barcenilla House. Vicente Barcenilla chatted with Leon Kilat in his room; he goes down in history as the last person to have seen him alive.

Then sometime during the night, several men entered Leon Kilat's room. One of them used Kilat's own rifle butt to smash his skull. And then the men stabbed Kilat. It was a collective deed, but Apolinario Alcuitas' name goes down in history as the assassin.

After insuring Leon Kilat was dead, the group brought his corpse to the center of town to display it. It was 5 a.m. Good Friday, April 9, 1898.

So, generally, historical accounts stop right there. One can assume that the Spaniards did indeed spare Carcar after they regained power. But Spanish power was shortlived because on May 1, 1898, Admiral Dewey launched the Battle of Manila Bay.

American intervention in Spanish Philippine politics quickly put an end to Spanish rule.


Post Script: My grandmother, Filomena Alesna, was most likely related to Florencio Noel. But Cebu is like that. If you trace far back enough, everyone is related. If you think about it, politically speaking, in any revolution, people are never quite sure which side to take. There are those who want the status quo; and there are those who want change.

OLD CEBU TRIVIA

Louie Nacorda sent in this Old Cebu Trivia about Zulueta Street in Old Cebu:

"Anyway, I found some Old Cebu trivia that could be of interest to us:
Zulueta's old name was Calle Pizzaro;
Mabini was Calle Maria Cristina;
Logarta was Calle Cadiz;
Lopez Jaena was Calle Hernan Cortes,
and the whole area was under Pueblo de Parian.

These info compliments of Don Domingo de Escondrillas, Cebu cartographer,
circa 1873."

COFRADIA SAN JUAN BATISTA IN CEBU

Louie Narcorda, founder of the Cofradia of St. John the Baptist in Cebu City, sent some pictures of their recent celebration of St. John's feast for his beheading. Here's some information about St. John the Baptist: He was the son of Zachary and Elizabeth, cousin of Mary. The Angel Gabriel told Zachary his wife would have a son even though she was old. St. John lived as a hermit in the desert. When he was 30, he began to preach. Jesus went to him in the river Jordan to be baptized. John recognized Him and said, "It is I who should be baptized by you." John was beheaded by Herod at the request of Salome. St. John's feast is celebrated on June 24. His beheading is celebrated on August 29.





~~~~
Photos:1) top left foto - L-R: Dr. Joy Gerra, Doña Luz Mancao vda. de Sandiego,
Dr. Mae Cabahug Mendoza, Janet Trocino Hermosa and Jenara Regis Newman;

2) top right foto - front row - L-R: Val Sandiego, Soly Taladua, Inday
Abarre, Joy Gerra, Cookie Newman, Luz Sandiego, Linda Martinez, Janet
Hermosa, Ofelia Sandiego, Josefa Gorordo de Revilles.
back row, L-R: Louie Nacorda, Ferdinand Ventura, Jerry Martin Noel
Alfafara, Gavin Bagares, Chilet Hermosa, Bingo Redoble;

3) Lower left foto - L-R: Val Sandiego, Margie Matheu, Chilet Hermosa,
Cookie Newman, Msgr. Cayetano Gelbolingo, P.A., Vicar General of the
Archdiocese of Cebu and spiritual director of the Cofradia de San Juan
Bautista, Janet Hermosa, Pepita Revilles, Inday Abarre and Louie Nacorda.

4) Lower right foto - L-R: Louie Nacorda, Jerry Martin Alfafara, Chilet
Hermosa and Nandy Ventura.

1896 CEBU GENEALOGY - JUANA LOPEZ DIOSOMITO

My friend Gavin Bagares in Cebu sent me the following historical materials that have to do with my great-greatgrandmother, Juana Lopez y Diosomito. The first report is dated 1896 and involves Juana buying two houses in Cebu City from Prudencio Sanson Camara (ancestor of Gavin). The second article below is dated 1901 and involves a real estate deal with Prudencio Sanson Camara once again. 

 This is the oldest historical document I have about any of my ancestors. I always thought Juan Lopez came from Naic, Cavite, but the documents below indicate she came from Tondo, Manila. The little I know about her came from my mother (Concepcion Cuenco Manguerra) and also from my aunt Lourdes Cuenco who had written saying Juana Lopez loved to dance. It was never spelled out who the father of her daughter Remedio Diosomito was, but there were some references of a Spanish Admiral - hmmm - 

 Aside from dancing, Juana was a sharp business woman, as we can well see from these documents that indicate she was investing in real estate. My mother said Juana bought houses and rented them out. Her daughter Remedios learned to do the same thing, and my granduncle (her son), Archibishop Jose Cuenco wrote in his autobiography that after his father died, Remedios supported her large family from these rentals. My own mother also learned to do this, and soon after my father died, my mother made daring investments in San Lorenzo and Bel Air villages in Makati, Manila. Mama said she went to Ayala and Mr. Fitch advised her not to be afraid to invest. Mama did: 3 lots in San Lorenzo and 5 in Bel Air. The photo shows Juana Lopez, seated right side, with Filomena Cuenco (standing), and Concepcion (child holding doll). The other child is Maria, a sister of my mother who died young. Here's another history trivia: President Sergio Osmena's father was a Sanson, not an Osmena. He was a love child and while the Osmenas and Sanson accepted this fact, at some point, it was the second wife of Sergio Osmena who didn't want this information to be public knowledge. In fact, many historians know about this. 

 --------------------------------------------------------- - 1896: Doña Juana Lopez Diosomito of Baybay, Leyte, purchased (for 3, 000 pesos, pacto de retro) two houses in Cebu City, one of mamposteria and solar on calle de Prim, facing the Plaza de General Loño, and the other of cal y canto and solar on calle de Prim, in the barrio of Maloco, from: Don Prudencio Sanson Camara, negociante, married, n and v* of Cebu City (Cebu Protocolos, Doc 11, 1/27/1896/1411: 74-77) * n and v represents natural and vecino, respectively - GSB 

~~~~~~~~~~~~~ Protocolo Cebu [or PC] 1424, No. 111, 26 Abril 1901, S52-S55 ... de una parte D. Prudencio Sanson Camara, mayor de edad, de estado casado, propietario y vecino de esta ciudad... Y de la otra D. Juan Niwel Sidebottom, natural de Manchester, "Ynglaterra," mayor de edad, de estado soltero, comerciante y vecino de esta poblacion en nombre y representacion de la Casa Smith Bell y Compania, en virtud del poder otorgado a su favor por D. Francisco Stuar Jones, socio gerente de la entidad mercantil colectiva Smith Bell y Compania... Primero: Que teniendo D. Prudencio Sanson Camara cuentas pendientes con los Senores Smith Bell y Compania de eta plaza, las cuales no es posible liquidar en este acto; para garantia de la espresada Sociedad por el alcance que pudiera tener a su favor al practicar la liquidacion definitiva, hipoteca [mortgage] las dos fincas siguientes: una casa de mamposteria con su correspondiente solar senalada con el No. 8 en la calle de Prim frente a la laza del General Lono de esta ciudad... mide 9 metros 20 centimetros de frente por 14 metros 80 centimetros de fondo: Segundo: una casa de cal y canto, con su solar correspondiente sita en el barrio de Maloco y en la calle de Prim de esta ciudad... dichas fincas las adquirio por retroventa de Dona Juana Lopez... Segundo: Las deslindadas fincas responderan siempre del saldo que contra el D. Prudencio Sanson Camara pueda resultar en la liquidacion definitiva que practique con los Senores Smith Bell y Compania, en los negocios que actualmente tiene con los mismos... PC 1424, No. 102, 22 Abril 1901, S16-S19B ... de una parte Dona Juana Lopez y Diosomito, mayor de edad de estado viuda, natural de Tondo Manila vecina de Baybay provincia de Leyte y con residencia en esta ciudad... Y de la otra D. Prudencio Sanson Camara de estado casado, mayor de edad, propietario y vecino de esta ciudad... Primero: Que por escritura otorgada en esta ciudad ante D. Joaquin Domenech y Costa Notario publico que fue de esta provincia en 27 Enero 1896, compro al D. Prudencio Sanson Camara las fincas siguientes: primero una casa de mamposteria con su correspondiente solar senalada con el No. 8 en la calle de Prim frente a la plaza del General Lono de esta ciudad... mide 9 metros 20 centimetros de frente por 14 metros 80 centimetros de fondo: segun de una casa de calicanto con su solar correspondiente sito en el barrio de Maloco y en la calle de Prim de esta ciudad... por precio de tres mil pesos, con la condicion de que si antes del 15 Julio 1897 le devolvia el vendedor dicha cantidad deberia otorgarle escritura de retroventa... Tercero: Y utilizando el derecho de redencion retrovende al D. Prudencio Sanson Camara las fincas deslindadas ... por el mismo precio de tres mil pesos... regards, gavin

OLD CEBU TRADITIONS

The chapel of St. John the Baptist in the Parian District in Cebu City, is small and unimpressive, and so people may disregard it as another community chapel, one of many in the Philippines. What most people do not know is that this chapel sits on land that had belonged to the Jesuits in the 1700s, and in those days a huge church had stood there. It had been a very wealthy church, funded by the wealthy Chinese Filipino merchants who lived in Cebu's Parian District. As it turned out, the Jesuits were driven out of the Philippines, and the Church fell in the hands of the Diocese of Cebu. The church was torn down. Bit by bit the land was taken over the city and by squatters so that now, the land the chapel rests on has been considerably diminished. Unbeknown to many is that in that small chapel there is a cross that dates back to the Jesuit days of the 1700s. It's stands behind the altar.

Yesterday, the feast day of St. John the Baptist, people overflowed outside the chapel of St. John. After Mass, there was a procession. The three Santos images are centenery statues of Christ, St. John the Baptist and a charming dreamy angel that makes me think of a Mexican lass. This year, the confradia of St. John the Baptist, headed by Louie Nacorda, added banners with images depicting various points of St. John's life. There were a number of little girls dressed as angels who were supposed to accompany the banner-carriers, but for some reason, they ended in the back of a van, without any lights nor decoration - the poor girls went unnoticed.

The procession starts from the Chapel, curves around the Heritage Monument, past Val Sandiego's antique house that is all dolled-up, and then it turns right on Lopez Jaena toward the Casa Gorordo. In front of the house, the silver carrosa carrying the images stop, and the members of the Confradia sing some songs. At the same time, some people from the second story of the Casa Gorordo throw calachuchi petals down on the statues. Apparently, in the 1850s, it had been the custom for the procession in front of Bishop Gorordo's house - the Casa Gorordo.

The procession continues, winding its way through the Parian district, and then it returns to the chapel, and the images and silver carrosa are returned to the Casa Gorordo.

Meantime, outside the chapel, there are food vendors selling briskly to the locals; and further down Lopez Jaena, the Confradia hosts a dinner and performance to members and guests. The delightful folk singing and dancing are all courtesy of Val Sandiego's Dance Troupe.



It's a lovely revival of an old tradition, one that Pepit Revilles and Louie Nacorda have resuscitated. They say every year more people show up, and spotted last night were Chinggay Utzurrum, Gavin Bagares, Erma Cuizon, Linda Alburo, Beth Reyes, and some 95 other people.

Thank you Pepit and Louie for this charming tradition!
Photo shows antique Santos statues of St. John the Baptist, Jesus Christ, and an Angel
Bottom photo shows Val San Diego's Dance Troupe