IT’S THAT time of year
again…no, not the ever-advancing Yuletide season, but All Saints’ Day and All
Souls’ Day, that gets my hometown its own Warholian 15 minutes of fame. Solely,
for its principal product.
So, time too to update
this piece that saw first print eight years ago.
There is no mourning in the casket manufacturing
industry in Sto. Tomas, Pampanga.
I still distinctly
remember the lead of my feature story in a mimeographed folio of featured industries
produced by the general information and production division of the Department
of Public Information, Region III office in November 1975.
Casket-making was the
sunrise industry in somnolent Sto. Tomas in the late ‘60s through the ‘70s,
when the principal industry, farming, became less and less profitable with the
intrusion of saline waters in the rivers that adversely affected rice
production.
The rivers were the
principal sources of irrigation then.
If memory serves right,
the pioneer mangabaong (coffin-makers)
were a Kojak look-alike surnamed Tayag in Moras de la Paz, then only a sitio of
Barangay San Matias; and Apung Esu
Canlas, whose factory was based in Balut, Sapa also a San Matias sitio then.
Both sitios have since
been made barangays that brought to seven the total number of my town’s basic
political units. See how tiny Sto. Tomas is?
Casket-manufacturing went
big-time with the establishment of the House of Woodcraft (HOW) in Barangay San
Vicente, taking the industry from the backyard to the production line.
HOW also broke the sole
proprietorship tradition of the business, going corporate with the surnames
Kabigting, Calaquian, Tayag, Manese, among others, as shareholders.
As in the cases of
the sari-sari store and hot pandesal –
of profitable ventures getting over-replication – casket-manufacturing
mushroomed all over town with company names ranging from Briones to Pineda to
PPP Santos, and later Arceo – all of whom entering the political ring but only
with Pineda – Romulo, and Arceo – Lucas, managing to get elected as mayor.
Yeah, there was one
election where three of the five mayoralty candidates were casket
manufacturers. Sorry, no buy-one-take-one sale though was proffered to the
voters.
The ‘70s saw Sto. Tomas as
the casket center of the whole Philippines, its factories supplying the whole
archipelago – from Appari to Jolo, and even exporting their produce to Asian
countries and even the USA.
So used to coffins in all
makes – high-end narra with all the intricate dukit (carvings), mid-level apitong and tangile,
low-low class “flattop” of plywood – and in various stages of production were
the townsfolk and the children that the horror the kabaong of lore impacted completely vanished in Sto. Tomas.
Yes, it was not uncommon
to see workers napping in unfinished caskets at lunch break, or floating
coffins being paddled by young boys during floods.
As a matter of course, at
funeral wakes in the town, the first thing that the makirame (condoler) takes note of is not the dearly departed but the
coffin in which he/she lies. Which is a clear give-away of his/her social
status, if not of his/her value to the family left behind. Narra, wow! Flattop,
eww! The ante further raised later with the entry of bronze and metal caskets.
In the ‘80s to the early ‘90s
casket manufacturing nosedived. For a lot of reasons.
There was a glut in
production. Then came the cut-throat competition resulting to sungaban presyu (underpricing). And
ultimately the funeral parlors they supplied put up their own factories, with
the help of the Sto. Tomas casket craftsmen themselves.
It was at this time when
“stowing-away” among skilled workers, primarily carpenters and carvers, became
a phenomenon in the town.
The funeral parlor owners
or their agents from Northern and Southern Luzon, the Visayas, and Mindanao
regularly called on the Sto. Tomas factories for their orders. This afforded
the workers to know them and established some sort of connections.
So when the “stowaway”
workers suddenly materialized in their funerarias
offering their skills and services – usually as industrial partners – to
put up their own casket factories, the funeral parlor owners readily welcomed
them: the savings not only in freight cost of caskets, but also in time and
materials, as primary motive.
That – plus the later
liberalization policies that opened the Philippine market to imported caskets –
virtually dug the grave for the casket industry of Sto. Tomas.
Today, casket-makers who
have survived and even excelled – Lucas Arceo being the most prominent – have
put up their own funeral parlors, serving as open, ready market to their
production.
Sometime in 2012 Mayor
Lito Naguit, though engaged in the other Sto. Tomas industry of pottery-making,
aimed to re-place the town in the national consciousness when it comes to
caskets.
The mayor mulled the
holding of a Kabaong Festival “to
attract tourists and open up business opportunities.”
Indeed, such festival was
held. But like the product it promoted, was buried after less-than-a-three-day
wake. So who would flock to a festival of coffins?
No hare-brained scheme
there though, rather think of Naguit as ahead of his time. If held today, the Kabaong Festival may just hit it big.
What with all these killings in Duterte’s war on drugs!
Though not quite back to
its glory days of yore, the casket industry in Sto. Tomas thrives well enough
to merit once more that now forgotten blurb: Sa
aking bayan, hanap-patay ang pangunahing hanapbuhay (In my town, the dead
provides our principal livelihood). Bow.