Three ‘Marias’ and one Princess
They were baptized “Tres Marias” after regular “gigs” at the many pro-Reproductive Health rallies held in recent years urging for the passage of this key health measure.
But the trio of Cooky Chua, Lolita Carbon and Bayang Barrios had no need of banding together to make a name for themselves. Individually, they were and are already “names,” albeit not so much in the world of pop and commercial music. But in the world of folk and so-called alternative music, the three are legendary, although I must apologize if the word makes them out to be weathered crones and withered women.
Certainly not Carbon, who rocked the grounds of Conspiracy Bar last weekend with her “non-virgin” rendition of a sappy pop ballad (“we do sing Pinoy pop, too!” they mock-protested) that transformed it from a teenage lament into a post-breakup anthem of survival and self-determination, especially with her throaty, world-weary pose.
Carbon is the most “senior” of the three women, reaching national prominence when her band “Asin” burst into the popular consciousness in the politically-charged late 1970s and early 1980s, successfully riding on the still-nascent environmental movement at the same time. Not to be forgotten were her smoky vocals which lent the folksy songs of early “Asin” an air of mystery and seduction. We are fortunate that after “Asin” disbanded, with Carbon disappearing for some years, she resurfaced some years back and is still singing, her locks of wild, unruly hair still swinging.
Chua, during the “Tres Marias” album launch, explained that Carbon had always been her “idol.” But Chua herself broke into the music scene in the early 1990s when her band Color It Red became one of the most popular contemporary Pinoy rock groups. Cooky, though, will always be identified with the song “Paglisan,” (Departure) described as a “haunting love elegy.”
Barrios was originally the vocalist in Joey Ayala’s band Ang Bagong Lumad, which means “the new indigenous,” Barrios herself being a Manobo. But in the intervening years, she has emerged as an artist in her own right, with her songs infused with ethnic touches—from the use of tribal instruments to her own ethnic wear and gestures. Today, much of her musical output is done in collaboration with her husband, Mike Villegas, with whom she has a daughter, Mayumi.
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I first caught the “Tres Marias” or Three Mary’s during the tribute organized by Likhaan and other women’s groups for the late former health secretary Dr. Quasi Romualdez, who had “bloomed” in the years after he left government into an ardent, passionate women’s health advocate.
So it was little wonder that when the three women artists/activists decided to formally band together and launch their first album, they approached Likhaan with a sponsorship proposal. And little wonder, too, that Likhaan, with support from international NGO Oxfam, agreed to provide the financial wherewithal for an album launch. But the night was dedicated not to a woman but to “Doc Quasi”. And not a few women felt their eyes misting during a video show on the good doctor, whose championship for reproductive health and rights was there for all to see, judging from his presence in so many pro-RH activities. Guests at the album launch were artists Noel Cabangon and Gary Granada, who had collaborated, at one time or another, with the three women, aside from making their own hit songs.
Still, women were feted, honored and adored that night under the shelter of a bamboo grove. It was a most fitting celebration of women’s strength and endurance. And by their own personal histories and their dedication to art despite the changing times and shifting tastes of their audience, the “Tres Marias” proved to be true symbols of the Filipino woman, long may she reign.
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Also in celebration of International Women’s Day, friends and colleagues decided to honor one woman in particular: Ana Maria “Princess” Nemenzo, who is formally associated with the women’s health NGO WomenHealth. She has also been associated with the women’s movement, with women’s issues, with women’s aspirations for over 30 years.
I first met Princess shortly after the ascension of Cory Aquino to the presidency in 1986, when she helped organize a meeting of women’s health advocates. At the time, news had spread that “Tita Cory,” whose rise to the presidency had been ardently supported by women’s groups, was about to sign an executive order which would have “banned” all forms of family planning save for the “Church-approved” natural family planning.
At the time of the gathering there was barely a “women’s health movement,” and we were but a motley gathering of feminists, breastfeeding promoters, family planning advocates and health caregivers—united in our belief that women have the right to self-determination, especially when it came to our reproductive health, choices, and destinies.
The rumored “EO” was never issued, but it was only the first of many battles in a drawn-out war, one we are still waging! And in the years since I have known Princess, I cannot but be impressed with her energy and consistency, her dedication to the cause of women in particular, and to progressive causes in general.
Friends and colleagues threw Princess a surprise party on International Women’s Day, but deadlines prevented me from attending the affair. (Another friend said it was quite a feat that so many women were able to keep the party a secret!) But friends’ accounts and photos on social media prove not only that the affair was well-attended, but blessed with good feelings and positive vibes all around. I am proud to call you a friend and a sister, Princess!
