Two Filipino cultural icons passed on recently, signaling massive shifts in the Philippine entertainment mediascape. The loss of Pilita Corrales, Asia’s Queen of Songs, and National Artist for Film Nora Aunor underscores the changes in the type of entertainment and superstars that have shaped Filipino popular culture for generations.
Corrales and Aunor had witnessed many changes together. Beyond the connection between these two women through the marriage of their children, they both proved what it means to be incandescent, with voices that soared.
Pilita was an early prototype for the Filipino songstress who achieved international significance, particularly in Australia. To be hailed as Asia’s Queen of Songs is a monumental achievement, considering that she is revered as royalty in a continent of billions and varied cultures. In many ways, Pilipita helped ignite what would eventually become known as “Pinoy Pride.”
Throughout her career, Pilita managed to rise above scandal and malicious gossip, captivating Filipinos with her elegance. Many accolades were bestowed upon her, but one small thing she did regularly endeared her to generations. Her signature graceful bend while singing, visually and physically embodying her long notes, captivated audiences. When Pilita bent backward, the crowd was mesmerized.
Pilita was also adamant about her connection to Cebu, often code-switching from English to Tagalog to Cebuano. As part of the rich tradition of exceptional voices from Cebu, she stood as a dignified counterpoint to the negative stereotypes of Cebuanos. She made it a point to celebrate this connection, often performing alongside the formidable Cebuana, Elizabeth Ramsey.
Nora Aunor, on the other hand, had a more tumultuous path. Aunor’s powerful voice lifted her from poverty in Iriga and allowed her to cross boundaries that were drawn by an industry enamored with the mestiza ideal.
Aunor became a transgressive icon who redefined the visibility of brown bodies, making them both aspirational and formidable. Her move into acting solidified her artistic chops, earning her numerous awards and recognition worldwide.
Aunor became a symbol of the nation in various forms, but always as a woman whose body bore sacrifice. Her most famous role as Elsa in Ishmael Bernal’s Himala (1982) remains potent today, especially as the nation continues to face blind followers of false prophets. She portrayed a tortured rebel in Andrea, Paano ba Maging Isang Ina? (1990, directed by Gil Portes), symbolizing a struggling inang bayan.
Aunor’s portrayal of the titular character in The Flor Contemplacion Story (1995, directed by Joel Lamangan) further deepened her connection to the mother-of-the-nation role, especially amid the diminishing conditions of Overseas Filipino Workers.
Now that they are gone, what remains in the Philippine entertainment industry? Virality has surpassed talent. The deep, immersive connections between stars and their communities have faded, replaced by an obsession with likes, followers, and fleeting TikTok dances. In this light, their passing feels all the more tragic.
(By Chong Ardivilla at [email protected] or chonggo.bsky.social / Manila Standard)
