He remarks on how the phrase became a popular idiom among the Tagalog-speaking public, who found the phrase more pleasing to the ear and a more appropriate substitute to saying losing ones virginity in public. 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. 2 (2010): 14986. The most notable of these were Sakay, Anak Dalita, Kandelerong Pilak, Sergeant Hasan, Destination Vietnam, and The Evil Within. By the late 1910s and early 1920s, sarsuwela repertoire mirrored anxieties around the urbanization of Manila in striking contrast to the idyllic rural countryside. Father and mother/At one time quarreled /, Because of the bibingka/Father did not want it/Sticky , Register to receive personalised research and resources by email. Atang de la Rama - Wikipilipinas Honorata Rama-Hernandez (January 11, 1902 - Prabook Atang de la Rama was born in Pandacan, Manila January 11, 1902 Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. . Second, I chart her rise to stardom alongside the emerging political voice of the womens movement in the 1920s and 1930s to highlight how de la Rama helped create a robust Filipina nationalism through her work and image as a performer. Atang de la Rama Collection: Manuscripts Home: Contents; Personal Papers -- Amado V. Hernanadez . Atang Dela Rama was born on January 11, 1905 in Manila, Philippines. They are. This short song features de la Ramas use of vocal slides and a gruff timbre that intensifies as she sings the final verse: What seemed like an innocent and playful depiction of the mundane becomes tinged with innuendo as de la Ramas rendition of the final verse elicits boisterous and knowing laughter from her partner Ocampo. I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. Mabuti na lang at broad-minded ako at nalalaman ko ang tulong na ginagawa niya sa mahihirap at sa mga manggagawa. Original text: Huwag namang daramdamin ng maraming artistang lumalabas sa Maria Luisa ay utang sa pagtupad ng Mutya ng Dulaang Tagalog ang lalong malaking bahagi ng tagumpay ng sarsuewlang ito. This position ironically came from the male politicians advocating for independence. 70 Her postwar film credits include Batong Buhay (1950), Salome (1952), Siga, Siga (1953), Rigiding (1954), Ang Buhay at Pag-ibig ni Dr. Jose Rizal (1955). Robert Schofield, then Dean of the Conservatory of Music at the University of the Philippines, asserted in 1922 that jazz was a sickness in the music of the Philippines, much like in the United States, and posed a danger to Filipino musicality.Footnote36 Outlining his vision for national music, Filipino composer Francisco Santiago also criticized the cheap dance music flooding the local music scene and warned against native composers adoption of American airs [] old cakewalk, the noisy march of Sousa, and the deafening and somewhat distorted jazz.Footnote37 Yet, ironically, Santiago also praised sarsuwela composers such as Juan Hernandez, Nicanor Abelardo, and Francisco Buencamino, all of whom had utilized jazz idioms in their compositions.Footnote38, De la Ramas performances on the bodabil stage, however, point to the critical role of the emerging popular entertainment industry in the very creation of a Filipino musical identity. 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. Upon landing in a job she, however, either chooses to be financially independent of her husband (this usually happens when relations of husband and wife are [estranged]) or to remain a dependent of the husband.Footnote66. 72 A typescript account found at the Atang de la Rama Collection listing her appearance in sarsuwela performances puts Dalagang Bukid at the top with a total of 724 performances. See Tiongson, Atang de la Rama, 31. Siya pa rin ang Atang de la Rama ng napabantog na Dalagang Bukid., 32 Remigio Mat Castro, Pagkakaisa (January 12, 1930). By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. At the end of this rendition, one is left with the distinct impression that she is mischievously waiting to tip over and break the jar herself.Footnote18. 5 The playwright Severino Reyes was among the early advocates of the Tagalog sarsuwela who produced didactic works that were critical of Spanish colonialism. 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. 5 Howick Place | London | SW1P 1WG. Gawad Tanglaw ng Lahi | Traditional University Awards | Ateneo de She firmly believed . 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. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. 65 Roces, Is the Suffragist an American Colonial Construct, 37. Atang de la Rama - Age, Birthday, Biography & Facts | HowOld.co By 1925, de la Cruz was the highest paid . De la Ramas next lead role was in Ang Kiri (The Coquette, 1926), which mirrored the 1920s urbanizing city where the character of the Filipino working girl emerged. 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). Atang de la Rama - Wikiwand By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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). 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. 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. For more on the history of the womens movement in the Philippines, see Belinda A. Aquino, Filipino Women and Political Engagement, in More Pinay than We Admit (Quezon City: Vibal Foundation, 2010), 1738. [2], Atang de la Rama was born in Pandacan, Manila on January 11, 1902. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. NLP Digital Collection She was married to National Artist for Literature, Amado V. Hernandez. See Helen F. Samson-Lauterwald, Music in the Sarsuwelas of Severino Reyes (Lola Basyang) (Diliman, Quezon City: University of the Philippines Press, 2016). Permission will be required if your reuse is not covered by the terms of the License. Of the 73 honorees since the awards reception in 1972, de la Rama is among only 11 women.Footnote71 Even in these later decades of her life, de la Rama presented herself in her trademark terno, a picture of grace with a little bit of spunk, not unlike her debut character half a century ago. De la Ramas performances were at once sources of musical authorship and powerful testaments to womens creative work that has long been overlooked in the historiography of Philippine music and culture. In the dramas final act, the playwright imagines a Philippines in a state of regression under a female-led government. 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. Moreover, de la Ramas celebrity status did not rely solely on her vocal ability, but also on the visual aspects of her performances on- and offstage. She navigated the theatrical stages of sarsuwela and bodabil fluidly, occasionally writing and producing shows herself. So far, only one award for literature has been granted, Edith Tiempo (1999), and none for visual arts and film. Missing from this historiography of the kundiman, however, is de la Ramas active role in performing and building up the kundiman repertory as much as its composers had done. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. She also made an effort to bring the kundiman and sarsuela to the indigenous peoples of the Philippine such as the Igorots, the Aetas, and the Mangyans. At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. Ang Kiri is an example of a subset of sarsuwelas from this period that contrasted urban cosmopolitan Manila with the idyllic countryside. She was especially popular in Hawaii, home to a large population of Filipinos who had been recruited to work in the sugar cane plantations as early as 1906. A recording of the song, set in the lilting danza rhythm, begins with a subdued rendition by de la Rama of the opening verse as Sesang sadly reminisces about her cabaret days. I then turn to de la Ramas work outside of the sarsuwela to further elaborate on her authorial performance within the broader landscape of popular entertainment in the Philippines and abroad. 19 Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. 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. 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. 16 In his first solo, Romansa, Cipriano refers to Angelita as his banal na Birhen (holy Virgin [Mary]). Honorata "Atang" Dela Rama was formally honored as the Queen of Kundiman in 1979, then already 74 years old singing the same song ("Nabasag na Banga") that she sang as a 15-year old girl in the sarsuela Dalagang Bukid. Singing competitions such as the Jazz and Kundiman Championship were also quite popular during the 1920s and were instrumental in presenting the genre as Filipino in contradistinction to jazz. In these contests, Jazz Girls were pitted against Lady Kundimans, which featured Atang de la Rama and Maggie Calloway, a silent film star in the late 1920s.Footnote43 Composers of this period took a serious interest in creating kundimans precisely because of the very voices that opened up the genre to a wider audience and gave life to their compositions. 64 Clutario, The Appearance of Filipina Nationalism, 224. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. About: Atang de la Rama - DBpedia Wilfredo Ma. 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. Filipino zarzuelistas continued to perform Spanish repertoire at the same time that sarsuwelas in Tagalog and other local Philippine languages were on the rise at the turn of the twentieth century. Set as a foxtrot, Nabasag ang Banga tells the story of a young maiden fetching water who accidentally slips and breaks her jar when a persistent suitor approaches her. Si Ka Amado, labor leader, konsehal, makata, manunulat. In the local vaudeville circuit, for instance, she performed novelty songs in English and popular excerpts from Italian operas, including duets with the Italian baritone Mario Padovani. Her vocal training in a variety of styles including Italian opera combined well with the idiosyncrasies and theatricality of the Tagalog language. Atang de la Rama. The song ends with the maiden returning home in tears, explaining to her parents that an aswanga shapeshifting monster in Philippine mythologyscared her and took her jar, leaving her with nothing but her muddied clothes. In a tennis court scene showing the new types of social spaces that women could inhabit, Sesang appears wearing sports attire as she hangs out with her suitors. However, Angelita is forced by her parents to marry a wealthy loan shark, Don Silvestre, as they need money to pay for their gambling habit and other vices. 2021 Felice P Sta Maria 2019 Danny E Dalena 2018 The other women awardees largely belonged to performing arts categories. As of this writing, there are 7 National Artist for Theater awardees. Dalagang Bukid - Wikipedia 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. In many of her publicity photos, she wears the Filipino dress typically worn by middle- and upper-class women, the traje de mestiza (see Figure 3). 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. It came to represent idealized images of Filipina femininity found in the sarsuwelas.Footnote56 This photo invites further reading on how de la Ramas own image carries a powerful influence separate from that created for her by the sarsuwelas authors. Her distinctive voice, stage presence, and memorable portrayal of the country maiden inspired the creation of a new repertoire of Tagalog sarsuwelas and gave momentum to the lyrical stage, just as other types of entertainment like vaudeville and cinema were gaining popularity in the Philippines in the early 1920s. 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. In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. Nicanor G. Tiongson. She was the producer and the writer of plays such as Anak ni Eva and Bulaklak ng Kabundukan. On May 8, 1987, "for her sincere devotion to original Filipino theater and music, her outstanding artistry as singer, and as sarsuela actress-playwright-producer, her tireless efforts to bring her art to all sectors of Filipino society and to the world," President Corazon C. Aquino proclaimed Atang de la Rama a National Artist of the Philippines for Theater and Music.[5]. At the meeting, de la Rama sang kundimans in honor of the voluntary exiles. Moved to tears, the account continues, Ricarte said to de la Rama this is the first time in I dont know how long that Ive heard one of our kundimans. 3 (1993): 32043; and Nicanor Tiongson, A Short History of the Philippine Sarsuwela (1879-2009), Philippine Humanities Review: Sarsuwela 11, no. By closing this message, you are consenting to our use of cookies. In 1987 she was inducted into the pantheon of National Artists in the Philippines, the highest award for arts and culture given by the national government. Original text: Ay naku! (Manila: Paredes, 1923). 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. Atang dela Rama: 'The First Star of Philippine Cinema' - Philstar.com She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). TRIVIA for the DAY: National Artist for Theater and Music (1987) Honorata "Atang" Dela Rama was formally honored as the Queen of Kundiman in 1979. See Gino Gonzales et. Following the Second World War, de la Rama continued to star in film and she hosted her own radio show in the 1950s.Footnote70 In the 1960s and 1970s, moreover, she contributed significantly to the restaging of prewar sarsuwelas and she availed herself freely as a resource for younger performers and theater companies. Orphaned at an early age, she grew up under the care of an elder sister who was married to a zarzuela composer where she was constantly exposed to the zarzuela. The National Artists of the Philippines. 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. Angelita ( Atang de la Rama ), a young flower vendor who works in front of a cabaret named Dalagang Bukid, and poor law student Cipriano (Marceliano Ilagan) are in love. An article from 1932 in Manilas Spanish-language newspaper La Vanguardia, for example, announced the decline of the sarsuwela due to the profane and good for nothing vaudeville.Footnote35 Such commentaries underline the debates between high and low art that preoccupied composers and intellectuals of the period, and express their anxieties about American influence. 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 age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. Born in Pandacan, Manila on January 11, 1905, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina by the age of five. I would also like to thank Journal of Musicological Research editor Hilary Poriss and the journals anonymous reviewers for their invaluable feedback. Soon after, fighting broke out between American and Filipino forces, which led to the deaths of hundreds of thousands of Filipino military and civilians. 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. Here, she is deliberate in her pauses and vocal slidescommonly referred to in Filipino music parlance as bitin and hagodand leaves the listener with a sense of vertiginous hanging just before the final cadence. Sawyer also campaigned for womens suffrage during this period and, as dance and theater historian Julie Malnig argues, linked the rhetoric of physical and psychological progress to dance and to womens new-found freedoms. See Julie Malnig, Two-Stepping to Glory: Social Dance and the Rhetoric of Social Mobility, Etnofoor 10, no. 1/2 (1997): 12850, at 141. 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. 68 Atang de la Rama: Sarsuwela Star, Philippine Panorama (August 28, 1983). Atang de la Rama - Wikipedia theather. Figure 2. After de la Ramas debut in Dalagang Bukid, she performed in a succession of works that revitalized the lackluster Tagalog sarsuwela scene in Manila, which had experienced a downturn in the 1910s. As the above quote suggests, her ability to connect with her audience went beyond her characterization of the bashful country maiden, and had, in a short span of time, allowed for a playful familiarity with her growing fan base. Besides here, his angelic voice also came . (n.d.). [3], During the American occupation of the Philippines, Atang de la Rama fought for the dominance of the kundiman, an important Philippine folk song, and the sarsuela, which is a musical play that focused on contemporary Filipino issues such as usury, cockfighting, and colonial mentality. Honorata "ATANG" dela Rama - Philippine Artists,Traditions and Culture Photographs of de la Rama aided her popularity locally and abroad and served as additional sites for her performance of Filipina femininity. 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. She was widowed in 1970 In 1970, at the age of 68, her husband, Amado V. Hernandez, passed away. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. 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.
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