Miong’s mother

Interesting, but sad and a bit unfair, is Tanghalang Pilipino’s portrayal of Kapitana Teneng, mother of Emilio Aguinaldo, in Nick Joaquin’s El Camino Real. This strong woman was portrayed as the villain – the higante – in Aguinaldo’s life who reduces him to a sniveling coward. Even more tragic, in my opinion, is this portrayal as viewed in contrast with that of Capt. Lazar Segovia, Spanish turncoat and self-confessed (historically) instigator of the American capture plan, who the play lifts from traitor to Aguinaldo’s sympathetic and intelligent psychoanalyst-confessor-jailer. But then it is the privilege of creative writers and theatrical (or film) directors to view history through their own eyes and interpret it in their own way. The National Forum (the Phi Kappa Phi journal) recently dwelt on the controversy between moviemakers and historians on the distortion of history for the sake of entertainment. The complaint against moviemakers, it said, is that they "readily bend, distort, and invent facts to create appealing stories." Moviemakers argue that nonetheless movies can "arouse emotions, stir curiosity and prompt viewers to consider significant questions." I believe the same argument can apply to theater.

I will admit that I have learned most of my world history from historical novels, plays and films – many of which have moved me to dig out history books to find out "what really happened." However in every one of these accounts, although some of the heroes have been tragic figures, there was something in the character – especially the hero – that left an imprint of some uplifting aspect of the human spirit. There is something that made the story "appealing." I am sorry. Maybe the history was too recent and maybe I am too close to it but I could find nothing in El Camino Real – either in entertainment value or theme – to justify its treatment of Kapitana Teneng.

Kapitana Teneng was a strong woman as most Cavite women are (and still are). She worked as a supervisor in a tobacco rolling company as many did – the fact of her becoming a supervisor attesting to her intelligence and industry. Widowed early, she was the sole breadwinner for the family until her son left school to help her. She ruled her family as most Filipino women did. She was a profound influence on her son as most mothers are. She did everything she could to protect him a mother would. What service has it done to humanity, let alone our country, for her to be blamed for whatever faults continue to be heaped on the creator and first president of our Republic?

Miong (the musical), in another interpretation of history (albeit my own) shows Kapitana Teneng in an entirely different light. It pokes lighthearted fun at her maneuvering on her son’s behalf and her interference in his choice of a wife. A more serious scene shows her disappointment at his dropping out of school. Perhaps one of the most poignant scenes of the musical play (or so I was told) is the scene where she sings of a mother’s inability to keep her children from going away – this after Miong tells her that he must disobey her and join the Katipunan.

Of course Miong is unabashedly meant to be theatrical entertainment that would hopefully at the same time educate and ignite national pride. As it is described in its promotional material it is "a story of an ordinary boy who did extraordinary things." Act I is a lighthearted look at Aguinaldo (Miong was his nickname) growing up. Act II is the story of the events leading up to the declaration of independence. The whole story is told in song and dance.

This makes Miong perhaps as far removed from El Camino Real as an artistic creation can be and a very good example of how history can be told differently through different eyes. Miong spans a different period ending with the high point in Emilio Aguinaldo’s life while El Camino Real ends with the low. Also Miong was written for an entirely different purpose. It was written as a celebration of achievement not as a lamentation over failure. It was written as an inspiration not as a winning. It was written to make the audience feel good, not depressed, when they left the theater. It was written to make Filipino feel proud of their history, not to think "Oh God, no wonder we are in such as mess!" Two different productions, two different perspectives.

The Repertory Philippines’ production of Miong (The Musical) will be revived as a touring production in February 2002. In 1998 it had 25 performances at the 1,000-seat Aguinaldo Theater, 25 performances at the 500-seat William J. Shaw Theater on Jan. 31 and will move to the University of the East Theater and the St. Scholastica’slastica’s College Theater throughout the month of February. Booking for other groups or schools at these venues will be possible.

Thus audiences will see another story and get a chance to know another Kapitana Teneng. Who was she? Was she someone you would hate or someone you could love? And who was Emilio Aguinaldo? Was he someone you should love? Hopefully, audiences, especially student audiences, will be moved to go to history books to find out.