We use cookies to improve your website experience. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). 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. No recording of this song has so far materialized, but reviews of the sarsuwela underline the effectiveness of de la Ramas performance. These accounts skip over the existence of the kundiman in the popular entertainment stages like bodabil, thus helping to eliminate de la Ramas influence from the historical record. 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. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. 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. I will never permit myself to be caught dead in a knee-length skirt, without the customary panuelo, and without camisa sleeves that look like the wings of a newly hatched grasshopper.Footnote63. Although one can read a certain conservatism in de la Ramas disdain for the knee-length skirt, her insistence on wearing the terno became an integral part of her performing her own femininity and Filipino identity. Courtesy of Adlai Lara. 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. That was why Atang de la Ramas pocket was always empty [Emphasis in the original].Footnote68. Original text: Kung napupuri at kinagigiliwan ang Maria Luisa, ang masasabi ko, bilang awtor, ay utang kay Atang de la Rama na isang tunay na himala sa pagtupad ng kanyang papel simula sa unang bahagi ng dula at hanggang sa wakas lalo noong inaawit niya ang awit ng pagkahibang Hesus Naririnig sa lahat ng dako nang dulaan ang iyakan ng mga manonood at ang mga piping buntong -hininga ng damdaming nakukuyom sa kanilang mga puso..
Honorata "Atang" Dela Rama - Provincial Government of Bulacan 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? Similarly, de la Rama remains a crucial figure in the early history of cinema in the Philippines, even as she herself was starting out on the sarsuwela stage. Motoe Terami-Wada also mentions de la Ramas stage engagements in 1943 during the Japanese Occupation where she led sarsuwela performances through the auspices of the organization Musical Philippines. 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. In 1938, she formed her own theatrical group, the Compaia De la Rama, which staged sarsuwela repertoire and some Tagalog adaptations of European repertoire such as Puccinis Madama Butterfly.Footnote52 She wrote and directed shows for the bodabil stage which featured a mix of jazz and blues songs with Tagalog repertoire that she performed. In effect, the magazine made an already familiar face available to a strata of women devoted to Filipina nationalism, encouraging women to take charge of their lives at home and outside of it, and, by extension, in the homeland and abroad. (n.d.). These concerns may have been reflecting the dynamics of De la Ramas own marriage to the poet and labor leader Amado Hernandez. 3 Written histories of Spanish zarzuela in the Philippines often start with an account of the staging of Francisco Barbieris Jugar con Fuego, sometime between 1878 and 1879 by Dario Cspedes, who managed a zarzuela company in Spain prior to his arrival in Manila. 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. Atang de la Rama. Since this award holds up the recipient to public honor and recognition by Ateneo de Manila University, the personal integrity and moral qualities of the honoree should also be considered, as honorees of the university are meant to be held up as models in their own lines of endeavor. Her vocal training in a variety of styles including Italian opera combined well with the idiosyncrasies and theatricality of the Tagalog language. She was the producer and the writer of plays such as Anak ni Eva and Bulaklak ng Kabundukan. 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. Ruth A. Solie (Berkeley: University of California Press, 1993), 22558.
Atang de la Rama - Wikiwand Dalagang bukid (1919) - IMDb al., Fashionable Filipinas, 141. The National Artists of the Philippines. Often, sarsuwelas plots express anxiety over the increasing presence of women in the public sphere, especially in their capacity as workers and professionals in industrializing Manila, and over the emerging womens movement in the early 1910s.Footnote13. 71 De la Rama was awarded the National Artist Award for theater and music. 67 Jun Cruz Reyes, Ka Amado (Diliman, Quezon City: University of the Philippines Press, 2012), 15354, 25657. She navigated the theatrical stages of sarsuwela and bodabil fluidly, occasionally writing and producing shows herself. Bernardino Buenaventura of Samahang Gabriel (Company Gabriel) rewrote it for the stage with music by Jose Z. Rivera. 1 (1981): 7788, at 83. Her vocal technique and theatricality not only made her especially well-suited for the genre but also created the kundimans distinctive sentimentality and now-standard performative nuances. In this article, I trace de la Ramas creative authorship through analyses of her performances onstage and offstage, where the aural and visual aspects of her role as Filipina diva come together. She firmly believed . Dalagang Bukid showcases familiar scenes and social practices of early twentieth-century Manila, such as the cabaret and gambling, a favorite pastime of Angelitas parents, whose constant losses indebted them to Don Silvestre. 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). 43 Peter Keppy, Tales of the Southeast Asian Jazz Age, 80. Guerrero. 39 Newspaper Clippings Folder 3, Atang de la Rama Collection, National Library of the Philippines, http://nlpdl.nlp.gov.ph/AD01/clippings/NLPADB00811486/datejpg1.htm, 7. 22 The article was derived from a booklet published by Columbia Gramophone Company with a letter written by Sawyer, dated November 23, 1914. 5 The playwright Severino Reyes was among the early advocates of the Tagalog sarsuwela who produced didactic works that were critical of Spanish colonialism. It is good that I am broad-minded and I knew that he helped the poor and the workers. 3 (1993): 32043; and Nicanor Tiongson, A Short History of the Philippine Sarsuwela (1879-2009), Philippine Humanities Review: Sarsuwela 11, no. In this emotionally charged number, Anita discovers that her daughter is missing; she alternates between looking for her child and spiraling into manic laughter as Don Justo attempts, but fails, to comfort her. 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. 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. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. Cultural Center of the Philippines. One review in The Tribune expressed shock at how the demure little Queen of Kundiman steps out with some of the most wicked scandal-stuff imaginable. 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. 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. As of this writing, there are 7 National Artist for Theater awardees. 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. While Reyes extols the virtue and bravery of the Filipina, especially in her contributions to the revolution against Spain, he nevertheless reaffirms that the only natural place for women is in the home. She finds it impossible to keep on a balanced budget unless she helps her partner in lifethat is, she gets a job. 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. In the recording, the song is introduced with a short comedic dialogue in which de la Rama plays the role of a vendor who sells rice cakes to the tenor Vicente Ocampo, who then tries to squirm out of paying for the bibingka he had just tasted. 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. Atang de la Rama Collection: Manuscripts Home: Contents; Personal Papers -- Amado V. Hernanadez . The Queen of the Kundiman, at once a striking presence on the popular stages of Manila and beyond, demands that her performance be taken seriously. 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. 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. 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. During the latter part of her life she lived in Gagalangin, Tondo, birthplace of her husband, Amado V. Hernandez, himself a National Artist, whom she married in 1932. 25 Schenker, Empire of Syncopation, 25657. 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. Honorata "Atang" Marquez de la Rama-Hernandez. 3099067 2 (2010): 14986. 46 Ibid. Within this tension between the urban and the rural, representations of women often invoked expectations of Filipina femininity that conveyed a nostalgia for the pastoral lifestyle, a reaction to perceived encroachments of the foreign and the modern onto traditional Filipino values. 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. Original text: Atang, sta es la primera vez desde hace no s cuanto tiempo que oigo un kundiman nuestro. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public life. 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. As scholars of gender and womens history in the Philippines have argued, the early twentieth century is crucial in understanding how women were at the forefront of colonial encounters that ultimately shaped Philippine modernity and Filipinos struggles against and within the United States empire.Footnote9 Historian Genevieve Clutario, in particular, draws attention to how women used fashion and beauty regimens that did not neatly align with those imposed by the American colonial regime or those of Filipino nationalists who opposed womens suffrage and saw it as another form of American intervention.Footnote10 As a professional artist, de la Rama became a recognizable figure of the womens movement, serving as a model for the Filipina at work outside of the home. Copies of her comedy sketches includes a short skit entitled Lalake!!! Ang Kiri is an example of a subset of sarsuwelas from this period that contrasted urban cosmopolitan Manila with the idyllic countryside.
Katy de la Cruz - Wikipedia 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). They are. Atang de la Rama was born in Tondo Manila on January 11 1902. Photographs of de la Rama aided her popularity locally and abroad and served as additional sites for her performance of Filipina femininity. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. The iconic image of de la Rama as dalagang bukid also likely inspired the well-known dalagang Filipina subject found in painter Fernando Amorsolos romantic-realist scenes of the idyllic countryside from the 1920s (see Figure 2), with its bandanna-clad young woman who bears some likeness to de la Ramas 1919 portrait. 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. See Gino Gonzales et.
Atang de la Rama : definition of Atang de la Rama and synonyms of Atang 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. Vaudevilles early beginnings in the Philippines can be traced to a variety of theatrical entertainment by visiting American and European troupes in Manila in the late nineteenth century. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. 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. 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. 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. While de la Rama is famously associated with her role as the demure dalagang bukid, I call attention to how her versatility as an actor and her dynamic voice allowed for a more nuanced performance that pushed against flat representations of the shy and modest Filipina. 38 Santiago, The Development of Music in the Philippine Islands, 516. Personal Papers, Untitle [sic] Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111378/datejpg1.htm, 2). 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. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un . As a form of denouement, a woman revolutionary general successfully overthrows the government and then promptly declines to take office; instead she urges her fellow women to go back to their true duties: rebuilding the home and the Filipino population.Footnote14 This reactionary narrative echoes musicologist Susan Thomass description of Cuban zarzuelas anti-feminist but pro-feminine plots in which playwrights relied on their female protagonists and the artistry of the female voice while continuing to uphold a peculiar set of social, political, and economic conditions which hinged on the role and behavior of women in Cuban society.Footnote15 As Filipino playwrights sought to create a world that mirrored the dramas of middle-class domestic life and the patriarchal social order of early-twentieth century Manila, the roles de la Rama performed reveal an intentional revision of gendered identities that rebelled against traditional expectations of womens behavior. A copy of the playbill can be found in Adlai Laras personal Flickr photo collection,https://www.flickr.com/photos/9307819@N05/2544474500/in/photostream/ (accessed October 3, 2019). 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. Si Adan sa Paraiso (Man!!! 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. De la Ramas fame as the Queen of Kundiman spread beyond Manila as she embarked on several extended tours abroad in 1926, 1932, and 1936. Whether Ilagan intended the double entendre or not, it is likely that de la Ramas rendition and continued performance of the song was the true source for the broken jug euphemism. 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). 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. occupation of the Philippines, Atang de la Wrote short stories in Tagalog Prima Donna of Filipino.
Atang de la Rama was born in Pandacan, Manila January 11, 1902 Standard historical accounts often point to Severino Reyess shift in his writing career to become a journalist and editor in the early 1920s as the beginning of sarsuwelas decline, just as vaudeville and film were becoming more popular in the Philippines. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. 11 Andrew N. Weintraub and Bart Barendregt, eds., Vamping the Stage: Female Voices of Asian Modernities (Honolulu: University of Hawaii Press, 2017), 2. Atang became the very first actress in the very first Tagalog film when she essayed the same role in the sarsuela's film version. To them, the American characteristics deemed feminine were conflated with the modern woman: English-speaking, university-educated, a professional or a clubwoman active in civic work, and by the 1920s, a suffragist.
About: Atang de la Rama - DBpedia These and most of the other sarsuwelas in which de la Rama performed were composed by Leon Ignacio, the foremost sarsuwela composer of the 1920s. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. De la Cruz also appeared in films and received a FAMAS Best Supporting Actress Award in 1953.
WATCH: 8 Philippine National Artists for Theater - TheaterFansManila.com 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 Jun Cruz Reyes has suggested, it is possible that Hernandez became more politically active because of de la Rama, not the other way around.Footnote69 Such a commentary points to the generative work done by women like de la Rama that often remain unacknowledged in histories of Philippine culture. She did this twice already and she hopes to continue doing so until all who comes to watch her learns to behave properly.Footnote54. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine.
Atang de la Rama - Wikipedia 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. 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. 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.
Atang de La Rama | PDF | Philippines - Scribd Her performances on the sarsuwela stage refashioned stereotypical female characters.
HONORATA "ATANG" DE LA RAMA (1902-1991) National Artist 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 most notable of these were Sakay, Anak Dalita, Kandelerong Pilak, Sergeant Hasan, Destination Vietnam, and The Evil Within. 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds. Pontszm: 5/5 ( 34 szavazat) "Nem ktsges, Honorata "Atang" de la Rama, zarzuela s kundiman kirlynje nemcsak neklsvel gazdagtotta a filippn nemzetet, hanem szavaival is: s most, 70 vvel azutn, hogy megnyerte els nekversenyt tves korban Sylvia La Torre tovbbra is a Flp-szigetek Kundiman kirlynjeknt uralkodik.
Facebook Permission will be required if your reuse is not covered by the terms of the License. Such self-fashioning carried political significance, especially during the resurgence of nationalism and in the emerging womens movement during the 1920s and 1930s in the Philippines. : Defining The Filipino Woman in Colonial Philippines, in Womens Suffrage in Asia: Gender, Nationalism and Democracy, eds.
Remembering The Philippines Biggest Star: Atang De La Rama On January 11, 1902, Honorata "Atang" de la Rama, National Artist for theater and music, was born in Pandacan, Manila.
Atang Dela Rama - IMDb For dance: Francisca Aquino (1973), Leonor Goquingco (1976), Lucrecia Urtula (1988), and Alice Reyes (2014); for music: Jovita Fuentes (1976), Lucrecia Kasilag (1988), and Andrea Veneracion (1999); for theater: Daisy Avellana (1999) and Amelia Lapea-Bonifacio (2018). Confident in her languid disregard for the composers melody, she renders a playful, flirtatious version of the song.
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