Emilio Mar Antonio, King of Balagtasan
MANILA, Philippines -- Two days ago, the Linangan sa Imahen, Retorika, at Anyo (LIRA), the oldest active organization of poets in Filipino, collaborated with the Samahan ng Sining at Kalinangan ng Pandacan and the Office of Manila Mayor Alfredo Lim to commemorate the 223rd birthdate of Francisco Balagtas this year. In a gathering of writers and artists called Pahayag: Panitikan Laban sa Korupsiyon, there was the expected crowning of flowers on the statue of Balagtas at the Balagtas Shrine in Pandacan, Manila led by Mayor Lim, with
National Artist for Literature Virgilio Almario, LIRA’s founder and adviser, who were assisted by the Knights of the Columbus from the San Fernando de Dilao Parish.
Before the said ritual and the release of a cultural manifesto against corruption in the government, we did a Balagtasan on graft with Mike Coroza and Teo Antonio.
Teo, the “King of Balagtasan,” told us that his father, Emilio Mar. Antonio, the last real King of Balagtasan, would have turned 108 on May 13.
Emilio Martinez Antonio (EMA) was born in Bambang, Bulacan, Bulacan to Andres Antonio and Maria Asuncion Martinez. He married Andrea Teodoro in 1941 and they were blessed with six children. Teo was born on November 29,
1946 when his dad was 43.
At that time, EMA began his career as part of the editorial staff of Liwayway until 1949 and as a Lakandiwa in a Balagtasan on air over DZRH until 1956.
And it seemed providential that after 60 years or so, it would be his son, Teo, who would be doing Balagtasan on air for the Cultural Center of the Philippines’ project Sugpuin ang Korupsiyon over DZRH.
Teo is not the only writer in the family. There was Emilio Jr., who became the Pilipino editor of Mapazette, the official student organ of V. Mapa High School. Emilio Jr. ended up as an economist while Teo became a poet. Had he not pursued his doctorate in economics, could Emilio Jr. end up as a better poet? Ask
Teo.
Vim Nadera (VN): How did you learn about his legacy?
Teo Antonio (TN): When I was a kid I was always asked to recite poems in school. My dad would teach me before the break of dawn. Little did I know that I’d become a poet. I’d read all his poems. More so, I was also exposed to books written by his friends.
VN: Who were his literary barkadas?
TA: His peer was Nemesio Caravana. He used to play mahjong with Florentino Collantes, another King of Balagtasan; Alejandro Abadilla, the Father of Modernist Poetry in Filipino; and Catalino Flores, his editor in Liwayway.
VN: What was his ritual as a writer?
TA: He’d sit in front of a typewriter, then think quietly. He loved smoking. He could fill up an ashtray. His pointing finger turned yellow due to cigarettes. He never was a heavy drinker.
VN: Could you tell us the literary scene during his time?
TA: It was the heyday of Florentino Collantes. Inigo Ed Regalado, Amado V. Hernandez, Alejandro Abadilla, Nemesio Caravana and others. In Taliba, he was able to meet Carmen Guerrero Nakpil and J.V. Cruz who were with The Manila Times. It was Lope K. Santos who was the leader of writers in Tagalog.
VN: How did he influence you as an artist?
TA: When my dad died on May 13, 1963, I began writing poems. Liwayway, Bulaklak, Taliba, Tagumpay, and Free Press in Filipino published my works. I didn’t know he had a great impact on me. I love reading him. In his last Balagtasan in Liwayway, he was very ill. So he just dictated it to me. I think I woke up The Muse sleeping inside of me.
VN: What were the tips he gave you?
TA: When I was small, he taught me how to deal with people while on stage. I would always cry after each poem recited. He advised me to treat them like banana trees. He just told me to speak slowly. And he would reiterate that I must
memorize my poems.
VN: How did you celebrate your father’s centennial?
TA: With Rio Alma and P.T. Martin, our family sought the help of the late Bokal Ricky Meneses who became the mayor of Bulacan, Bulacan where we celebrated his 100th birthday. Bulacan’s capitol remembered it too and made May 13 a special day. There was an exhibit of his books, trophies, crowns as the King of Balagtasan. There was a program where Rio Alma was the guest of honor. It was made successful by Arman Sta. Ana and the Office of the Governor of Bulacan. Emilio Jr. and I submitted his works to the UST Publishing House. Now under Dr. Cristina Pantoja Hidalgo’s leadership, two of his books were out. It will be launched as part of the 400 Years, 400 Books project in November.
VN: What are your plans to immortalize him?
TA: Emilio Jr. searched for all the works of our father. Hopefully we’ll be able to publish them all. I am writing his biography right now.
VN: What are your plans to immortalize Balagtasan?
TA: I’m plannning to conduct seminars on Balagtasan with Mike Coroza and you.
VN: Could you give us pointers on how to become as mambabalagtas?
TA: There’s a need for training how to read or perform poetry. But I
would prefer to teach him or her first how to write poems.
VN: What about hints on how to read or recite a poem properly?
TA: My advice is to understand the poem first. You have to get the feel of it.
VN: Can Balagtasan outlive you?
TA: [It] must get the support of institutions like the Cultural Center of the Philippines which has been airing Balagtasan over DZRH. Or the National Commission for Culture and the Arts which invites us on stage every year.
VN: What else must be done?
TA: Balagtasan must be taught in schools. Trainings and seminars must be offered. The Pambansang Balagtasan must be done annually. The Department of Education must continue what the Division of City Schools in Manila did earlier. Calling all sponsors.
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