A Father. A Mother. A Nation. ‘Pamana’

More than half of all Filipinos weren’t born yet when Ninoy Aquino was shot at the tarmac of the Manila International Airport 30 years ago. But every single Filipino today benefits from the freedoms Ninoy’s death ushered into the country, even if there is an entire generation who probably knows Ninoy more as the man after whom the country’s premier international airport is named, as the man with the pensive look on the P500-bill. His legacy, his “Pamana” needs to be shared with that generation, that very powerful generation that will be tomorrow’s leaders.

Pamana, a docu-musical tribute to Ninoy and Cory Aquino set to premiere tomorrow at the Meralco Theater on the 30th death anniversary of the martyred senator, probes Ninoy’s legacy even as it tackles the things that went wrong after Aug. 21, 1983, and EDSA, the bloodless people power revolution Ninoy’s widow Cory led with faith and courage. Pamana looks at Ninoy, Cory and the nation as a love triangle, a love triangle with no outsider.

The Ninoy and Cory Aquino Foundation Inc. (NCAF), in partnership with Indie.Go Media and the Philippine Educational Theater Association (PETA), proudly presents tomorrow  the gala premiere of  Pamana -— an original docu-musical written by noted playwright Rody Vera and music by Manoling V. Francisco, S.J.  and Ryan Cayabyab. Interspersed with the “front story” are the words of Ninoy and Cory, who through their lives have insisted on a life of service and love for their countrymen.

The cast is top billed by noted stage and film actress Malou de Guzman, who plays the role of Lola Azon. Three generations of a family: Lola Azon, her son Edgar, and a granddaughter Trina relate their lives and relationships with each other in the context of the historical developments of the country since Ninoy Aquino died. Lola Azon, 35 years old when Ninoy was assassinated, was a street sweeper (Metro Manila Aide), when she experienced her own “epiphany.” 

Edgar (Jett Pangan), however, witnessed the fading and the corruption of that pure hope as the years of “democracy” went by. He was witness to EDSA People Power 2, miscarriages of democracy and other scandals. Edgar becomes disillusioned and heads for Saudi Arabia to seek a more stable life for his daughter and mother. His cynicism about the Philippine condition never changes. He has always become skeptical about how this country could ever redeem itself. After a long separation from his mother and daughter, he comes back with the hope of bringing his family to immigrate to Switzerland, where his employer has assigned him.

Trina (Kakki Teodoro) was 13 when Cory died. She relates how her father’s cynicism rubbed off on her. But upon seeing the democracy icon’s funeral, the same “epiphany” that came over her Lola came upon her. She was overwhelmed by the huge farewell funeral march given by the Filipino people to a woman who died in silence — serving and loving her countrymen. This struck her. Is her father’s cynicism true at all? Can’t a country rediscover this strong faith in spiritual transformation to recover from national despair and fatigue? 

Find out what Trina decides to do when Edgar comes back to tell the “good news” of his decision to bring them all to Switzerland and you will understand what Pamana is all about

TV and film actor Bodjie Pascua also joins Pamana, as Turo, Azon’s husband.

The ensemble is composed of Raul Alfonso, Kiki Baento, Raflesia Bravo, Roi Calilong, Buddy Caramat, Joan Co, Karen Gaerlan, Gio Gahol, She Maala, Benedict Manaois, Gie Onida, Norbs Portales, Gino Ramirez, Victor Robinson, Angela Samson, Nica Santiago, Miela Sayo, Ian Segarra, Gold Villar and Yeyin Dela Cruz. A lot of those in the ensemble were born in the late ‘80s and yet their involvement in the play is bone deep because some of their parents suffered, one even died, because they joined the struggle against the Marcos dictatorship.

 Many in the cast of Pamana, which Ninoy and Cory’s daughter Ballsy Cruz gave a 10/10, were thus, not “acting.”

Lending support as chorus is Viva Voce under artistic director Camille Lopez-Molina.

The artistic and creative team of Pamana is led by Rody Vera (playwright), Maribel Legarda (stage director), Melvin Lee (associate stage director), Jun Reyes (video director and executive producer), Manoling V. Francisco, S.J. and Ryan Cayabyab (composers), Vince de Jesus (musical director), Batche Tan (choreographer), Boni Juan (set designer), Carlo Pagunaling (costume designer) and Jonjon Villareal (lighting designer and technical designer).

(For further details, call PETA Theater Center at 725-6244 or 09064817333. Tickets are also available through Ticketworld at 891-9999 or visit www.ticketworld.com.ph.)

***

I would like to share with you the undelivered arrival speech of Ninoy upon his return from exile on Aug. 21, 1983.

I have returned on my free will to join the ranks of those struggling to restore our rights and freedoms through nonviolence.

I seek no confrontation. I only pray and will strive for a genuine national reconciliation founded on justice.

I am prepared for the worst, and have decided against the advice of my mother, my spiritual adviser, many of my tested friends and a few of my most valued political mentors.

A death sentence awaits me. Two more subversion charges, both calling for death penalties, have been filed since I left three years ago and are now pending with the courts.

I could have opted to seek political asylum in America, but I feel it is my duty, as it is the duty of every Filipino, to suffer with his people especially in time of crisis.

I never sought nor have I been given assurances or promise of leniency by the regime. I return voluntarily armed only with a clear conscience and fortified in the faith that in the end justice will emerge triumphant.

According to Gandhi, the willing sacrifice of the innocent is the most powerful answer to insolent tyranny that has yet been conceived by God and man.

Three years ago when I left for an emergency heart bypass operation, I hoped and prayed that the rights and freedoms of our people would soon be restored, that living conditions would improve and that blood-letting would stop.

Rather than move forward, we have moved backward. The killings have increased, the economy has taken a turn for the worse and the human rights situation has deteriorated.

During the martial law period, the Supreme Court heard petitions for Habeas Corpus. It is most ironic, after martial law has allegedly been lifted, that the Supreme Court last April ruled it can no longer entertain petitions for Habeas Corpus for persons detained under a Presidential Commitment Order, which covers all so-called national security cases and which under present circumstances can cover almost anything.

The country is far advanced in her times of trouble. Economic, social and political problems bedevil the Filipino. These problems may be surmounted if we are united. But we can be united only if all the rights and freedoms enjoyed before September 21, 1972 are fully restored.

The Filipino asks for nothing more, but will surely accept nothing less, than all the rights and freedoms guaranteed by the 1935 Constitution — the most sacred legacies from the Founding Fathers.

Yes, the Filipino is patient, but there is a limit to his patience. Must we wait until that patience snaps?

The nation-wide rebellion is escalating and threatens to explode into a bloody revolution. There is a growing cadre of young Filipinos who have finally come to realize that freedom is never granted, it is taken. Must we relive the agonies and the blood-letting of the past that brought forth our Republic or can we sit down as brothers and sisters and discuss our differences with reason and goodwill?

I have often wondered how many disputes could have been settled easily had the disputants only dared to define their terms.

So as to leave no room for misunderstanding, I shall define my terms:

1. Six years ago, I was sentenced to die before a firing squad by a Military Tribunal whose jurisdiction I steadfastly refused to recognize. It is now time for the regime to decide. Order my IMMEDIATE EXECUTION OR SET ME FREE.

I was sentenced to die for allegedly being the leading communist leader. I am not a communist, never was and never will be.

2. National reconciliation and unity can be achieved but only with justice, including justice for our Muslim and Ifugao brothers. There can be no deal with a Dictator. No compromise with Dictatorship.

3. In a revolution there can really be no victors, only victims. We do not have to destroy in order to build.

4. Subversion stems from economic, social and political causes and will not be solved by purely military solutions; it can be curbed not with ever increasing repression but with a more equitable distribution of wealth, more democracy and more freedom, and

5. For the economy to get going once again, the workingman must be given his just and rightful share of his labor, and to the owners and managers must be restored the hope where there is so much uncertainty if not despair.

On one of the long corridors of Harvard University are carved in granite the words of Archibald Macleish:

“How shall freedom be defended? By arms when it is attacked by arms; by truth when it is attacked by lies; by democratic faith when it is attacked by authoritarian dogma. Always, and in the final act, by determination and faith.”

I return from exile and to an uncertain future with only determination and faith to offer — faith in our people and faith in God.