Atang de la Rama - Wikiwand 4 Over three hundred years of Spanish colonial occupation in the Philippines ended with the Philippine Revolution (1896-1898) and the Treaty of Paris of 1898. Movies. Atang de la Rama - Age, Birthday, Biography & Facts | HowOld.co It is good that I am broad-minded and I knew that he helped the poor and the workers. Doreen Fernandez and Jonathan Chua (Manila: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2000), 20721, at 212. Here, I use the term voice to mean two things: first, the distinctiveness of de la Ramas own voice, mediated through sound recordings and contemporary reviews, reinscribes the act of performance as a necessary locus of authorship traditionally reserved for (male) playwrights and composers. This essay focuses on the career of Honorata Atang de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. Atang Dela Rama is a national artist for theater and music queen of kundiman. De la Rama was unique in successfully navigating these different performance platforms, allowing her to achieve a lasting career in Philippine theater and music throughout the twentieth century. 20 Remigio Mat Castro, Nabasag ang Banga? Her parents came from Negros Occidental. But how can you remain relaxed at home on that night, knowing that Atang celebrates her gala of honor? Dalagang bukid (1919) - IMDb Their repartee turns into de la Rama singing about the method of cooking the rice cake with fire below and on top and how her bibingka is much sought after for its extra stickiness and its full toppings of egg and cheese. For a detailed account of the different theater venues that staged Spanish and Tagalog repertoire throughout the nineteenth and early twentieth centuries, see Cristina Lacnico-Buenaventura, The Theater in Manila, 1846-1946 (Manila: De La Salle University Press, 1994). National Commission for Culture and the Arts. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 23 Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin, Liwayway (March 10, 1980). Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? In the drama, Angelita is often referred to as gentle and ladylike; she carries an aura of virtue and innocence about her as she sells flowers in Manilas unsavory cabaret districts.Footnote16. On September 4, 1915, a lengthy article on the foxtrot by American ballroom dancer Joan Sawyer appeared in the Manila weekly journal The Independent, complete with detailed instructions and suggestions for which music should accompany the dance.Footnote22 Incorporating a foxtrot in the sarsuwela also points to a standard practice of using globally circulating popular musics in sarsuwela scores. He initially established KZIB to advertise his merchandise and to help boost sales through entertainment, which he provided by tapping the local recording artists for Columbia, including de la Rama, as part of his regular music programming.Footnote49. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. In his biography of Hernandez, Jun Cruz Reyes tells the story of two talented and well-known artists who were brought together on the stages of Tagalog poetry and drama. national hometown : pandacan artist manila award type of art : for theater and theater music and music tools and materials : (1987) music and films why is the artists' art artistic, distinctive, and of superior quality? 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. Through sarsuwela librettos and scores, rare sound recordings, reviews, publicity photos, and de la Ramas writings, I amplify her musical and metaphorical voice to address the critical role of women in the production of sarsuwelas and popular culture in the Philippines. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. Although it is difficult to ascertain how widely de la Ramas image from the 1919 playbill circulated, it is highly probable that her onstage character contributed to the popularity of the country theme in many studio photographs. Atang Dela Rama - IMDb 12 (2004): 75106, at 9798. It is this sense of authorship that Hilary Poriss similarly argues for the critical work of prima donnas of the nineteenth century in their practice of altering operatic scores in performance, thereby challenging conceptions of authenticity of a given musical work.Footnote8 While Abbate and Poriss comment largely on the history and performance of European opera, such theorizations of the voice and of the performing artist are particularly helpful in teasing out the ways in which de la Ramas voice and stage presence position her as co-creator of sarsuwelas. Permission is granted subject to the terms of the License under which the work was published. Si Adan sa Paraiso, Plays and Short Stories Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00311420/datejpg1.htm). The manuscript piano-vocal score and libretto of Dalagang Bukid is located in the Manlapaz Collection of the Pardo de Tavera Library and Special Collections at the Ateneo de Manila University (PL5548.3.I54 D3). 27 Clutario, The Appearance of Filipina Nationalism, 11011. This CD is found in several audio collections in the United States including those in the Mills Music Library at the University of Wisconsin-Madison and the Library of Congress Recorded Sound Research Center. BIBINGKA by Honorata Atang de la Rama - YouTube The bilingual (English and Spanish) magazine, edited by Filipino suffragist Trining Fernandez-Legarda, promoted itself as devoted to the best traditions of the Filipino home and the progress of the women in the Philippines. Although the magazine published many articles dedicated to family life and domesticity, it also included features and commentary that encouraged women to go out of the home in order to become better wives and mothers; moreover, its editorial board explicitly advocated for womens suffrage during the 1920s and 1930s.Footnote65 The (uncaptioned) cover photo links de la Rama with her iconic role by juxtaposing her headshot with a full profile of her as the dalagang bukid. Her cover photo is framed by texts that point to the magazines multiple strategies for advancing womens progress within the confines of homemaking as well as in seeking full participation in civic life. Guerrero. Her celebrity image and creative output arguably kept the Tagalog sarsuwela stage afloat, even in the midst of increasing competition from other forms of popular entertainment in the 1930s and toward the latter years of the American colonial period. 2 The original text is in Spanish. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. De la Rama was instrumental in the popularization of the Tagalog song repertory across these different entertainment platforms; she activated voice and image to play a central role in creating a Filipina femininity in the 1920s that challenged expectations of womens work as solely devoted to home and family life. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. Sesangs character as the former cabaret dancer embodies the modern, cosmopolitan woman of the 1920s, while scenes and costume details situate her worldly and morally questionable personality.Footnote28. This treaty ceded the Philippines (along with Puerto Rico and Guam) to the United States in the aftermath of the Spanish-American war. Such standardization of the classical kundiman includes a slow triple meter and a three-part form structure (the first two sections set in minor and the final section in the parallel major), which mirror the poetic narrative of anti-colonial struggle.Footnote41. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). 66 Personal Papers, Statements, and Reports Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111373/datejpg1.htm, 4). In the first line of the chorus, she prolongs the opening word halina (come hither), adding a subtle allure as she sings of a heart-stopping kiss and instructs her partner not to be timid in touching her. Such bodabil performances not only complicate de la Ramas image as the virtuous dalagang bukid but they also illustrate the overlapping networks of different popular entertainment circuits in the Philippines in the 1920s and 1930s. Karen Henson (New York, NY: Cambridge University Press, 2016), 1123, at 20. Newspaper reviews between 1922 and 1925 remark on her performance of Tagalog song repertory, especially of kundiman songs, which contributed to her earning the moniker Queen of the Kundiman.Footnote39 While the kundiman has a long history that dates back to the early nineteenth century, it was during the 1920s that the genre became widely associated with its characteristic patriotic sentimentality and themes of national longing.Footnote40 Images of the ideal woman and the virtuous Filipina, often standing in as a symbol for the longed-for independent motherland, recur in many kundimans. This position ironically came from the male politicians advocating for independence. Sarsuwela characters ran the gamut of stereotypes, from the virtuous and chaste Filipina, the perpetual dalagang bukid, to the manipulative flirt depicted as a product of rapid urban modernization. 61 Roces, Is the Suffragist an American Colonial Construct, 45. Scholars have rightly commented on how the sarsuwelas preserved the largely patriarchal social order of early twentieth-century Manila, even as the theatrical stage critiqued colonial powers.Footnote6 Yet to understand the sarsuwela as a purely representational form at the expense of its musical and performative aspects is to neglect the larger stakes of its world-making and the multiple possibilities of meaning it conveys. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). The balintawak, with its prominent sleeves and translucent fabric paired with a shawl wrapped around the waist, was the everyday clothing of the lower and middle working classes in the first decades of the twentieth century. 40 One of the earliest sources of the kundiman is found in Jos Honorato Lozanos lbum: Vistas de las Yslas Filipinas y Trages de sus Abitantes 1847, which featured two transcriptions of cundiman songs and an illustration of a scene with a dancing couple accompanied by a small ensemble of string and wind instruments. Permission will be required if your reuse is not covered by the terms of the License. Atang Dela Rama was born on January 11, 1905 in Manila, Philippines. For her achievements and contributions to the art form, she was hailed Queen of the Kundiman and of the Sarsuela in 1979, at the age of 74.[3]. Courtesy of Butterscotch Auction, Newspaper accounts of her tours abroad included descriptions of de la Ramas appearance, revealing the medias tendency to focus on female singers physical looks more than on their musical talent. Along with other major colonial ports such as Hong Kong, Batavia, and Singapore, Manila became part of a broader theatrical circuit of traveling opera companies, circuses, and minstrel shows in the Pacific region.Footnote33 At the turn of the twentieth century, variety shows were staged in different contexts including performances by American soldiers as part of their military entertainment as well as productions by traveling companies that catered to the general public.Footnote34, By the 1920s and 1930s, bodabil featured a mix of song, dance, and theatrical sketch performances by foreign-born and Filipino artists alike. Dalagang Bukid - Wikipedia WATCH: 8 Philippine National Artists for Theater - TheaterFansManila.com 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. TRIVIA for the DAY: - Filipino Heritage Festival Inc. | Facebook The striking cabaret scenes portray glimpses of the leisurely life of young, middle-class men and of bailarinas. 42 The brief biographical sketch included in the research guide to the Atang de la Rama Collection at the National Library of the Philippines mentions her premiering the iconic song in 1924 at a workers rally (http://nlpdl.nlp.gov.ph/NL02/NLPADGD40850fd/datejpg1.htm, 5). She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). Honorata "ATANG" dela Rama - Philippine Artists,Traditions and Culture Perhaps it is only theater royalty who could get away with schooling their public. In the April 26, 1930 issue of the Tagalog daily Taliba, for example, Franco Vera Reyes wrote, I hope the many artists who starred in Maria Luisa will not be offended by this but they owe a huge part of the zarzuelas success to the muse of the Tagalog drama [Mutya ng Dulaang Tagalog]. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. While de la Ramas popularity as the dalagang bukid of the theatrical stage may have helped construct her good girl image, her performances outside of sarsuwela point to the broader network of popular entertainment in which she toyed with traditional expectations of Filipina femininity. Honorata de la Rama-Hernandez (January 11, 1902 - July 11, 1991), commonly known as Atang de la Rama was a singer and bodabil performer who became the first Filipina film actress.. Atang de la Rama was born in Tondo, Manila on January 11, 1905. Honorata Rama-Hernandez (January 11, 1902 - Prabook By 1925, de la Cruz was the highest paid . 2 (2010): 14986. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. 18 Tiongson similarly underlines de la Ramas flirtatious performance as he reconstructs the artists rendition of Nabasag ang Banga. See Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin (Pasay City, Philippines: Cultural Center of the Philippines, 1987), 19. Menu. Atang de la Ramas singular voice, heard on the multiple stages of popular entertainment, asserts its own kind of authorship that challenges the common conception that creativity is the exclusive domain of the playwright or composer. De la Ramas long career richly illustrates the power of the female voice in shattering gendered and prescriptive notions of Filipino nationalism that emerged in the 1920s and 1930s amidst anxieties over the Americanization of Filipino culture. By the 1920s and throughout the 1930s, the influx of American popular music (often collectively referred to by contemporary artists and critics as jazz) resulted in foxtrots, blues, Charleston (spelled tsarleston in the scripts), and, later on, the Hawaii an hula being incorporated into the sarsuwela repertoire. De la Rama died on July 11, 1991. (Manila: Paredes, 1923). She was named a national artist of the Philippines in 1987, at the age of 85. Atang de la Rama - Wikipilipinas 51 From Lacnico-Buenaventuras 1985 interview with de la Rama. Atang de la Rama : definition of Atang de la Rama and synonyms of Atang This essay examines the role of Atang de la Rama in the development of the Tagalog sarsuwela and in the emerging popular entertainment industry in the Philippines in order to make a claim about women in performance as primary creators of Filipino culture and identity. In 1979, she was hailed as Queen of Kundiman, and in 1987, she was awarded as National Artist for Theater and Music. Among the highlights of the production was the song performed by de la Rama, Awit ng Pagkahibang (Delirium Song) in the second act. Honorata "Atang" Dela Rama - Wikipilipinas Atang Dela Rama on IMDb: Awards, nominations, and wins. De la Ramas voice resonates through the writers own recollection as it vividly creates the experience of the sarsuwela for its audience. 3 (1993): 32043, at 331. 67 Jun Cruz Reyes, Ka Amado (Diliman, Quezon City: University of the Philippines Press, 2012), 15354, 25657. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. De la Rama on the front cover of The Womans Outlook (July 1926 Issue). 6 See, for example, Patricia Marion Lopez, Imaging Women in the Zarzuela, Philippine Humanities Review: Sarsuwela 11, no. Register a free Taylor & Francis Online account today to boost your research and gain these benefits: Creative Authorship and the Filipina Diva Atang de la Rama. A careful study of the life and career of de la Rama fills a huge gap in the history of the performing arts in the Philippines that has emphasized male playwrights, composers, and political elites in their representations of the Filipina. 59 Gonzales et. Through sound recordings, reviews, photos, and her own writings, I amplify de la Ramas musical and metaphorical voice to address the important role of women in Philippine music and popular culture. Also formally recognized as a National Artists for Theater and Music by Former President Corazon Aquino for Honorita's love . 16 In his first solo, Romansa, Cipriano refers to Angelita as his banal na Birhen (holy Virgin [Mary]). occupation of the Philippines, Atang de la Wrote short stories in Tagalog Prima Donna of Filipino. Formal U.S. occupation of the archipelago ended in 1946 with the declaration of Philippine Independence, while the influence of the American empire in the Philippines continued long after. singer Honorata de la Rama-Hernandez, commonly known as Atang de la Rama, was a singer and bodabil performer who became the first Filipina film actress. De la Rama.Footnote2. Cultural Center of the Philippines. 2. 52 El Teatro Tagalo Emergera Como Un Nuevo Ave Fenix, La Opinion (March 16, 1938). But de la Ramas success in Dalagang Bukid ushered in a renewal of the lyrical stage with works by other emerging playwrights such as Precioso Palmas Paglipas ng Dilim (After the Darkness, 1920), Julian Cruz Balmacedas Sa Bunganga ng Pating (In the Sharks Jaws, 1921), and Servando de los Angeless Alamat ng Nayon (Legend of the Town, 1925). The dalagang Filipina figured prominently in Amorsolos works throughout his career and had become, as historian Mina Roces argues, the romanticized image of the Filipino woman that most Filipino men in the 1920s wanted to maintain, especially at the time when the womens suffrage movement was gaining traction in the Philippines.Footnote58 Photographs from the 1920s and 1930s display de la Ramas penchant for combining traditional and modern fashion trends, actively contradicting the nostalgic and romanticized image of the Filipina. Although this pairing was at times fraught with rumors of domestic quarrels, de la Rama and Hernandez remained together, even after Hernandez was imprisoned for six years in the 1950s on charges of rebellion and associations with the communist movement.Footnote67 In one of her more candid postwar interviews, de la Rama spoke of how she supported the social causes that her husband championed: Oh, Ka Amado was a labor leader, councilor, poet, writer. He was everything that didnt make money. As such, her work serves as a critical example of an artists rewriting of gendered identities embedded in the text and music. The sartorial imagery of the dalagang bukid became a standard for young women who had their portraits taken in the 1920s and 1930s, wearing balintawak with pastoral backgrounds and using props such as a banga or clay jug and baskets of flowers or produce. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. Such critiques and social commentary also projected gendered prescriptions of the ideal Filipina as demure and virtuous, the dalagang Filipina, a recurring trope in Philippine literature and culture that persists to this day. Throughout the sarsuwela, the urbanization of Manila and its perceived vices are placed in subtle contrast against the idyllic image of the countryside represented through the character of Angelita. As scholars Peter Keppy and Frederick Schenker have noted, the real-life cabarets that proliferated in the Philippines were subject to crackdowns by local authorities as well as to criticisms by Filipino elites and nationalist rhetoric.Footnote24 Schenker, in particular, points to the ways in which bailarinas of this period were caught in the debates about Filipino racial respectability and readiness for self-rule.Footnote25, Ang Kiri fleshes out the moral and cultural contradictions of Manilas cabaret scene through the story of Sesang, a former bailarina who reenters polite society.Footnote26 As the kiri or coquette character, Sesang bears the social stigma of her occupation and struggles to seek moral redemption throughout the drama. Courtesy of Adlai Lara. One particular song recording, the duet Bibingka (a type of Filipino rice cake delicacy), is particularly illustrative in demonstrating de la Ramas jazzy vaudevillian character. By the late 1920s, the traje de mestiza would evolve into the terno, a garment with a more streamlined design and prominent butterfly sleeves.Footnote60 The terno became the symbolic national dress worn by women in public and in various civic organizations. Broken Arrow Mugshots, Square Reader Flashing Red, Kahoot Flood Unblocked At School, Elta Md Pm Therapy Vs Cerave Pm, Articles A
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atang dela rama awards

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atang dela rama awards

Order of National Artists of the Philippines, National Commission for Culture and the Arts, https://en.wikipedia.org/w/index.php?title=Atang_de_la_Rama&oldid=1130385614, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 29 December 2022, at 22:45. Ignacio Manlapazs description of her in the Philippines Herald is illustrative: Atang de la Rama helps in the eradication of untoward behavior of theatergoers and that they may learn to respect the art of acting. Literature on the history of Philippine music and the performing arts often cites the transformation of the kundiman from a type of folk song and dance into an important art song genre through the hands of composers like Bonifacio Abdon and conservatory-trained composers Francisco Santiago and Nicanor Abelardo in the late 1910s and early 1920s. Her real . The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace. Moreover, de la Ramas choice of a short wavy hairstyle (the Marcel and finger waves hairstyles) and use of makeup points to what Clutario argues represented a conscious act among Filipinas to transform their appearance as a way to make claims to modernity vis--vis modern beauty.Footnote64 Combined with the terno, de la Ramas appearance conveyed a fusion of the traditional and modern, pastoral and cosmopolitan. Finding that his daughter has become pregnant out of wedlock, Justo inflicts the cruelest of punishments: he gives away her newborn daughter. Honorata de la Rama-Hernandez (January 11, 1902 - July 11, 1991), commonly known as Atang de la Rama, was a singer and bodabil performer who became the first Filipina film actress. Details Release date September 25, 1919 (Philippines) Country of origin Philippines Rama fought for the dominance of the such as: kundiman, an important Philippine folk song, Theater (1968) and the sarsuela, which is a musical play that Doon sa Dakong Timog. Although the text depicts an innocent and bucolic scene, de la Ramas performance of Nabasag ang Banga highlights a sexual subtext in which she plays teasingly with the demure and delicate dalagang bukid stereotype. 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds. This recording is most likely a digitized copy of rare 78s housed in the collection of Nestor Vera Cruz, owner of the Yesteryears Music Gallery in Quezon City, Philippines. I would like to thank the many wonderful mentors and peers who took the time to read and comment on earlier versions of this work. When there was a strike, he would order sacks of rice and cans of biscuits and charge them to me. During the American. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. Perhaps the most remarkable review comes from Maria Luisas author, Remigio Mat Castro, published in the Tagalog paper Pagkakaisa: If Maria Luisa is praised and enjoyed, I can only say that, as its author, I am indebted to Atang de la Rama, who is a true miracle in her role from the first act of the play until the end more so when she sang the song of madness Jesus One hears from all corners of the theater the audience crying and the mute sighs of their pent-up emotions.Footnote32. Honorata de la Rama Hernandez, popularly known as Atang de la Rama, a singer and performer is the first star of the Philippine Cinema. Theater historian Nicanor Tiongson underscores the importance of Ignacio and de la Ramas relationship, and how he helped launch her career by guaranteeing her roles in sarsuwelas that he was commissioned to write.Footnote23 Yet it was also plausible that Ignacios career and the entire Tagalog sarsuwela scene in Manila took an upward turn because of de la Ramas successful debut in Dalagang Bukid. and National Commission for Culture and the Arts. Atang de la Rama - Wikiwand 4 Over three hundred years of Spanish colonial occupation in the Philippines ended with the Philippine Revolution (1896-1898) and the Treaty of Paris of 1898. Movies. Atang de la Rama - Age, Birthday, Biography & Facts | HowOld.co It is good that I am broad-minded and I knew that he helped the poor and the workers. Doreen Fernandez and Jonathan Chua (Manila: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2000), 20721, at 212. Here, I use the term voice to mean two things: first, the distinctiveness of de la Ramas own voice, mediated through sound recordings and contemporary reviews, reinscribes the act of performance as a necessary locus of authorship traditionally reserved for (male) playwrights and composers. This essay focuses on the career of Honorata Atang de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. Atang Dela Rama is a national artist for theater and music queen of kundiman. De la Rama was unique in successfully navigating these different performance platforms, allowing her to achieve a lasting career in Philippine theater and music throughout the twentieth century. 20 Remigio Mat Castro, Nabasag ang Banga? Her parents came from Negros Occidental. But how can you remain relaxed at home on that night, knowing that Atang celebrates her gala of honor? Dalagang bukid (1919) - IMDb Their repartee turns into de la Rama singing about the method of cooking the rice cake with fire below and on top and how her bibingka is much sought after for its extra stickiness and its full toppings of egg and cheese. For a detailed account of the different theater venues that staged Spanish and Tagalog repertoire throughout the nineteenth and early twentieth centuries, see Cristina Lacnico-Buenaventura, The Theater in Manila, 1846-1946 (Manila: De La Salle University Press, 1994). National Commission for Culture and the Arts. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 23 Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin, Liwayway (March 10, 1980). Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? In the drama, Angelita is often referred to as gentle and ladylike; she carries an aura of virtue and innocence about her as she sells flowers in Manilas unsavory cabaret districts.Footnote16. On September 4, 1915, a lengthy article on the foxtrot by American ballroom dancer Joan Sawyer appeared in the Manila weekly journal The Independent, complete with detailed instructions and suggestions for which music should accompany the dance.Footnote22 Incorporating a foxtrot in the sarsuwela also points to a standard practice of using globally circulating popular musics in sarsuwela scores. He initially established KZIB to advertise his merchandise and to help boost sales through entertainment, which he provided by tapping the local recording artists for Columbia, including de la Rama, as part of his regular music programming.Footnote49. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. In his biography of Hernandez, Jun Cruz Reyes tells the story of two talented and well-known artists who were brought together on the stages of Tagalog poetry and drama. national hometown : pandacan artist manila award type of art : for theater and theater music and music tools and materials : (1987) music and films why is the artists' art artistic, distinctive, and of superior quality? 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. Through sarsuwela librettos and scores, rare sound recordings, reviews, publicity photos, and de la Ramas writings, I amplify her musical and metaphorical voice to address the critical role of women in the production of sarsuwelas and popular culture in the Philippines. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. Although it is difficult to ascertain how widely de la Ramas image from the 1919 playbill circulated, it is highly probable that her onstage character contributed to the popularity of the country theme in many studio photographs. Atang Dela Rama - IMDb 12 (2004): 75106, at 9798. It is this sense of authorship that Hilary Poriss similarly argues for the critical work of prima donnas of the nineteenth century in their practice of altering operatic scores in performance, thereby challenging conceptions of authenticity of a given musical work.Footnote8 While Abbate and Poriss comment largely on the history and performance of European opera, such theorizations of the voice and of the performing artist are particularly helpful in teasing out the ways in which de la Ramas voice and stage presence position her as co-creator of sarsuwelas. Permission is granted subject to the terms of the License under which the work was published. Si Adan sa Paraiso, Plays and Short Stories Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00311420/datejpg1.htm). The manuscript piano-vocal score and libretto of Dalagang Bukid is located in the Manlapaz Collection of the Pardo de Tavera Library and Special Collections at the Ateneo de Manila University (PL5548.3.I54 D3). 27 Clutario, The Appearance of Filipina Nationalism, 11011. This CD is found in several audio collections in the United States including those in the Mills Music Library at the University of Wisconsin-Madison and the Library of Congress Recorded Sound Research Center. BIBINGKA by Honorata Atang de la Rama - YouTube The bilingual (English and Spanish) magazine, edited by Filipino suffragist Trining Fernandez-Legarda, promoted itself as devoted to the best traditions of the Filipino home and the progress of the women in the Philippines. Although the magazine published many articles dedicated to family life and domesticity, it also included features and commentary that encouraged women to go out of the home in order to become better wives and mothers; moreover, its editorial board explicitly advocated for womens suffrage during the 1920s and 1930s.Footnote65 The (uncaptioned) cover photo links de la Rama with her iconic role by juxtaposing her headshot with a full profile of her as the dalagang bukid. Her cover photo is framed by texts that point to the magazines multiple strategies for advancing womens progress within the confines of homemaking as well as in seeking full participation in civic life. Guerrero. Her celebrity image and creative output arguably kept the Tagalog sarsuwela stage afloat, even in the midst of increasing competition from other forms of popular entertainment in the 1930s and toward the latter years of the American colonial period. 2 The original text is in Spanish. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. De la Rama was instrumental in the popularization of the Tagalog song repertory across these different entertainment platforms; she activated voice and image to play a central role in creating a Filipina femininity in the 1920s that challenged expectations of womens work as solely devoted to home and family life. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. Sesangs character as the former cabaret dancer embodies the modern, cosmopolitan woman of the 1920s, while scenes and costume details situate her worldly and morally questionable personality.Footnote28. This treaty ceded the Philippines (along with Puerto Rico and Guam) to the United States in the aftermath of the Spanish-American war. Such standardization of the classical kundiman includes a slow triple meter and a three-part form structure (the first two sections set in minor and the final section in the parallel major), which mirror the poetic narrative of anti-colonial struggle.Footnote41. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). 66 Personal Papers, Statements, and Reports Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111373/datejpg1.htm, 4). In the first line of the chorus, she prolongs the opening word halina (come hither), adding a subtle allure as she sings of a heart-stopping kiss and instructs her partner not to be timid in touching her. Such bodabil performances not only complicate de la Ramas image as the virtuous dalagang bukid but they also illustrate the overlapping networks of different popular entertainment circuits in the Philippines in the 1920s and 1930s. Karen Henson (New York, NY: Cambridge University Press, 2016), 1123, at 20. Newspaper reviews between 1922 and 1925 remark on her performance of Tagalog song repertory, especially of kundiman songs, which contributed to her earning the moniker Queen of the Kundiman.Footnote39 While the kundiman has a long history that dates back to the early nineteenth century, it was during the 1920s that the genre became widely associated with its characteristic patriotic sentimentality and themes of national longing.Footnote40 Images of the ideal woman and the virtuous Filipina, often standing in as a symbol for the longed-for independent motherland, recur in many kundimans. This position ironically came from the male politicians advocating for independence. Sarsuwela characters ran the gamut of stereotypes, from the virtuous and chaste Filipina, the perpetual dalagang bukid, to the manipulative flirt depicted as a product of rapid urban modernization. 61 Roces, Is the Suffragist an American Colonial Construct, 45. Scholars have rightly commented on how the sarsuwelas preserved the largely patriarchal social order of early twentieth-century Manila, even as the theatrical stage critiqued colonial powers.Footnote6 Yet to understand the sarsuwela as a purely representational form at the expense of its musical and performative aspects is to neglect the larger stakes of its world-making and the multiple possibilities of meaning it conveys. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). The balintawak, with its prominent sleeves and translucent fabric paired with a shawl wrapped around the waist, was the everyday clothing of the lower and middle working classes in the first decades of the twentieth century. 40 One of the earliest sources of the kundiman is found in Jos Honorato Lozanos lbum: Vistas de las Yslas Filipinas y Trages de sus Abitantes 1847, which featured two transcriptions of cundiman songs and an illustration of a scene with a dancing couple accompanied by a small ensemble of string and wind instruments. Permission will be required if your reuse is not covered by the terms of the License. Atang Dela Rama was born on January 11, 1905 in Manila, Philippines. For her achievements and contributions to the art form, she was hailed Queen of the Kundiman and of the Sarsuela in 1979, at the age of 74.[3]. Courtesy of Butterscotch Auction, Newspaper accounts of her tours abroad included descriptions of de la Ramas appearance, revealing the medias tendency to focus on female singers physical looks more than on their musical talent. Along with other major colonial ports such as Hong Kong, Batavia, and Singapore, Manila became part of a broader theatrical circuit of traveling opera companies, circuses, and minstrel shows in the Pacific region.Footnote33 At the turn of the twentieth century, variety shows were staged in different contexts including performances by American soldiers as part of their military entertainment as well as productions by traveling companies that catered to the general public.Footnote34, By the 1920s and 1930s, bodabil featured a mix of song, dance, and theatrical sketch performances by foreign-born and Filipino artists alike. Dalagang Bukid - Wikipedia WATCH: 8 Philippine National Artists for Theater - TheaterFansManila.com 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. TRIVIA for the DAY: - Filipino Heritage Festival Inc. | Facebook The striking cabaret scenes portray glimpses of the leisurely life of young, middle-class men and of bailarinas. 42 The brief biographical sketch included in the research guide to the Atang de la Rama Collection at the National Library of the Philippines mentions her premiering the iconic song in 1924 at a workers rally (http://nlpdl.nlp.gov.ph/NL02/NLPADGD40850fd/datejpg1.htm, 5). She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). Honorata "ATANG" dela Rama - Philippine Artists,Traditions and Culture Perhaps it is only theater royalty who could get away with schooling their public. In the April 26, 1930 issue of the Tagalog daily Taliba, for example, Franco Vera Reyes wrote, I hope the many artists who starred in Maria Luisa will not be offended by this but they owe a huge part of the zarzuelas success to the muse of the Tagalog drama [Mutya ng Dulaang Tagalog]. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. While de la Ramas popularity as the dalagang bukid of the theatrical stage may have helped construct her good girl image, her performances outside of sarsuwela point to the broader network of popular entertainment in which she toyed with traditional expectations of Filipina femininity. Honorata de la Rama-Hernandez (January 11, 1902 - July 11, 1991), commonly known as Atang de la Rama was a singer and bodabil performer who became the first Filipina film actress.. Atang de la Rama was born in Tondo, Manila on January 11, 1905. Honorata Rama-Hernandez (January 11, 1902 - Prabook By 1925, de la Cruz was the highest paid . 2 (2010): 14986. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. 18 Tiongson similarly underlines de la Ramas flirtatious performance as he reconstructs the artists rendition of Nabasag ang Banga. See Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin (Pasay City, Philippines: Cultural Center of the Philippines, 1987), 19. Menu. Atang de la Ramas singular voice, heard on the multiple stages of popular entertainment, asserts its own kind of authorship that challenges the common conception that creativity is the exclusive domain of the playwright or composer. De la Ramas long career richly illustrates the power of the female voice in shattering gendered and prescriptive notions of Filipino nationalism that emerged in the 1920s and 1930s amidst anxieties over the Americanization of Filipino culture. By the 1920s and throughout the 1930s, the influx of American popular music (often collectively referred to by contemporary artists and critics as jazz) resulted in foxtrots, blues, Charleston (spelled tsarleston in the scripts), and, later on, the Hawaii an hula being incorporated into the sarsuwela repertoire. De la Rama died on July 11, 1991. (Manila: Paredes, 1923). She was named a national artist of the Philippines in 1987, at the age of 85. Atang de la Rama - Wikipilipinas 51 From Lacnico-Buenaventuras 1985 interview with de la Rama. Atang de la Rama : definition of Atang de la Rama and synonyms of Atang This essay examines the role of Atang de la Rama in the development of the Tagalog sarsuwela and in the emerging popular entertainment industry in the Philippines in order to make a claim about women in performance as primary creators of Filipino culture and identity. In 1979, she was hailed as Queen of Kundiman, and in 1987, she was awarded as National Artist for Theater and Music. Among the highlights of the production was the song performed by de la Rama, Awit ng Pagkahibang (Delirium Song) in the second act. Honorata "Atang" Dela Rama - Wikipilipinas Atang Dela Rama on IMDb: Awards, nominations, and wins. De la Ramas voice resonates through the writers own recollection as it vividly creates the experience of the sarsuwela for its audience. 3 (1993): 32043, at 331. 67 Jun Cruz Reyes, Ka Amado (Diliman, Quezon City: University of the Philippines Press, 2012), 15354, 25657. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. De la Rama on the front cover of The Womans Outlook (July 1926 Issue). 6 See, for example, Patricia Marion Lopez, Imaging Women in the Zarzuela, Philippine Humanities Review: Sarsuwela 11, no. Register a free Taylor & Francis Online account today to boost your research and gain these benefits: Creative Authorship and the Filipina Diva Atang de la Rama. A careful study of the life and career of de la Rama fills a huge gap in the history of the performing arts in the Philippines that has emphasized male playwrights, composers, and political elites in their representations of the Filipina. 59 Gonzales et. Through sound recordings, reviews, photos, and her own writings, I amplify de la Ramas musical and metaphorical voice to address the important role of women in Philippine music and popular culture. Also formally recognized as a National Artists for Theater and Music by Former President Corazon Aquino for Honorita's love . 16 In his first solo, Romansa, Cipriano refers to Angelita as his banal na Birhen (holy Virgin [Mary]). occupation of the Philippines, Atang de la Wrote short stories in Tagalog Prima Donna of Filipino. Formal U.S. occupation of the archipelago ended in 1946 with the declaration of Philippine Independence, while the influence of the American empire in the Philippines continued long after. singer Honorata de la Rama-Hernandez, commonly known as Atang de la Rama, was a singer and bodabil performer who became the first Filipina film actress. De la Rama.Footnote2. Cultural Center of the Philippines. 2. 52 El Teatro Tagalo Emergera Como Un Nuevo Ave Fenix, La Opinion (March 16, 1938). But de la Ramas success in Dalagang Bukid ushered in a renewal of the lyrical stage with works by other emerging playwrights such as Precioso Palmas Paglipas ng Dilim (After the Darkness, 1920), Julian Cruz Balmacedas Sa Bunganga ng Pating (In the Sharks Jaws, 1921), and Servando de los Angeless Alamat ng Nayon (Legend of the Town, 1925). The dalagang Filipina figured prominently in Amorsolos works throughout his career and had become, as historian Mina Roces argues, the romanticized image of the Filipino woman that most Filipino men in the 1920s wanted to maintain, especially at the time when the womens suffrage movement was gaining traction in the Philippines.Footnote58 Photographs from the 1920s and 1930s display de la Ramas penchant for combining traditional and modern fashion trends, actively contradicting the nostalgic and romanticized image of the Filipina. Although this pairing was at times fraught with rumors of domestic quarrels, de la Rama and Hernandez remained together, even after Hernandez was imprisoned for six years in the 1950s on charges of rebellion and associations with the communist movement.Footnote67 In one of her more candid postwar interviews, de la Rama spoke of how she supported the social causes that her husband championed: Oh, Ka Amado was a labor leader, councilor, poet, writer. He was everything that didnt make money. As such, her work serves as a critical example of an artists rewriting of gendered identities embedded in the text and music. The sartorial imagery of the dalagang bukid became a standard for young women who had their portraits taken in the 1920s and 1930s, wearing balintawak with pastoral backgrounds and using props such as a banga or clay jug and baskets of flowers or produce. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. Such critiques and social commentary also projected gendered prescriptions of the ideal Filipina as demure and virtuous, the dalagang Filipina, a recurring trope in Philippine literature and culture that persists to this day. Throughout the sarsuwela, the urbanization of Manila and its perceived vices are placed in subtle contrast against the idyllic image of the countryside represented through the character of Angelita. As scholars Peter Keppy and Frederick Schenker have noted, the real-life cabarets that proliferated in the Philippines were subject to crackdowns by local authorities as well as to criticisms by Filipino elites and nationalist rhetoric.Footnote24 Schenker, in particular, points to the ways in which bailarinas of this period were caught in the debates about Filipino racial respectability and readiness for self-rule.Footnote25, Ang Kiri fleshes out the moral and cultural contradictions of Manilas cabaret scene through the story of Sesang, a former bailarina who reenters polite society.Footnote26 As the kiri or coquette character, Sesang bears the social stigma of her occupation and struggles to seek moral redemption throughout the drama. Courtesy of Adlai Lara. One particular song recording, the duet Bibingka (a type of Filipino rice cake delicacy), is particularly illustrative in demonstrating de la Ramas jazzy vaudevillian character. By the late 1920s, the traje de mestiza would evolve into the terno, a garment with a more streamlined design and prominent butterfly sleeves.Footnote60 The terno became the symbolic national dress worn by women in public and in various civic organizations.

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