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. Louise Edwards and Mina Roces (London; New York, NY: Taylor and Francis, 2004), 2458. 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. 9 See Denise Cruz, Transpacific Femininities: The Making of the Modern Filipina (Durham: Duke University Press, 2012); Genevieve A. Clutario, The Appearance of Filipina Nationalism: Body, Nation, Empire (PhD dissertation, University of Illinois at Urbana-Champaign, 2014); Mina Roces, Is the Suffragist an American Colonial Construct? Pag may welga, magpapakuha yan ng saku-sakong bigas at lata ng biskuwit kayat palaging laslas ang bulsa ni Atang de la Rama. Emphasis in the original article. No recording of this song has so far materialized, but reviews of the sarsuwela underline the effectiveness of de la Ramas performance. 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. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16.
BIBINGKA by Honorata Atang de la Rama - YouTube 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. Original text is in English. One place to begin exploring the case for de la Ramas creative authorship is the characterizations of women that proliferated in Philippine literature and theater in the 1910s, leading up to de la Ramas Dalagang Bukid. Ricardo Trimilloss essay in the collection, Enacting Modernity through Voice, Body, and Gender: Filipina Singers from the Close of the Philippine-American War to the Onset of Martial Law (1913-1972), 26180, in particular, traces how popular Filipina singers were instrumental in the creation of a Philippine modernity from 1913 to 1972.
Gawad Tanglaw ng Lahi | Traditional University Awards | Ateneo de First, I explore specific examples of character types that de la Rama popularized on the sarsuwela stage, focusing on how her performances vividly recreated and brought to life fictional representations of the Filipina. al., Fashionable Filipinas, 141. They are. Atang Dela Rama is a national artist for theater and music queen of kundiman. In addressing performance as a source of creative power, I follow Carolyn Abbates theorization of how a musical work exists only as it is given phenomenal reality by its performers.Footnote7 It is through the artists voice and presence that the sarsuwelas texts and music come off the page and reach the audiences senses. 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. The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. While a few scholars have previously underlined the sexual innuendo in Nabasag ang Banga, the reading of the broken jug as a metaphor for lost virginity had a somewhat contested origin.Footnote19 Indeed, the reception of the songs sexual themes in de la Ramas performance may have prompted Tagalog writer Remigio Mat Castro to remark in 1923 that the playwright Ilagan did not intend any metaphorical messages for the original song but instead meant for it to be taken literally.Footnote20 In his compilation of short stories, Nabasag ang Banga?, Castro borrows the popular song title and, in his introduction, insists that nabasag ang banga acquired its metaphorical meaning outside of the context of the sarsuwela. Queen of the Kundiman and. De la Rama on the front cover of The Womans Outlook (July 1926 Issue). Atang Dela Rama was born on 11 January 1905 in Manila, Philippines. 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. Atang de la Rama Collection: Manuscripts Home: Contents; Personal Papers -- Amado V. Hernanadez . 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. She was also at the forefront of introducing Filipino culture to foreign audiences. 50 Nick Deocampo, Film: American Influences on Philippine Cinema (Mandaluyong, Philippines: Anvil, 2017), 519. Hence, it is in Atang de la Ramas performance, her creative authorship, that the sarsuwelas are made real. Some of the notable composers of this early sarsuwela repertoire were Jos Estella, Juan de Sahagun Hernandez, and Fulgencio Tolentino. She did this twice already and she hopes to continue doing so until all who comes to watch her learns to behave properly.Footnote54. Fictional representations of the Filipina as the heroine often relied on the ideal good woman archetype or on the moral redemption of the good girl-turned-bad. Images of meek and subservient women abound in early twentieth century Tagalog literature, which led literary historian and critic Soledad Reyes to comment on the recurring portrayal of the obedient, faithful and self-sacrificing wife who suffers in silence even when confronted with her husbands infidelities.Footnote12 The characterizations of women in Tagalog sarsuwelas, on the other hand, reflected differing attitudes and responses to modernization in the Philippines. De la Cruz also appeared in films and received a FAMAS Best Supporting Actress Award in 1953. Confident in her languid disregard for the composers melody, she renders a playful, flirtatious version of the song. 46 Ibid. Guerrero. 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. 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 age of 15, she starred in the . She fought for the advancement of the art for everyone so she brought the kundiman and sarsuela not only in big theaters in Manila but also in cockpit arena and plazas in the provinces and in the distant places of the natives. The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace. Honorata "Atang" Marquez de la Rama-Hernandez. 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 personal writings hint that she engaged directly in this balancing act between private and public life. The intricate folding of the panuelo is in itself an art, and it has been a constant source of wonder among foreigners. In 1979, she was hailed as Queen of Kundiman, and in 1987, she was awarded as National Artist for Theater and Music. Her parents came from Negros Occidental. 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. In 1926, de la Rama performed with the Manila bandmaster Andres Baclig and his jazz band, the Manila Syncopators, in Honolulu.Footnote44 An account of de la Ramas travels abroad published in the Philippines Free Press highlighted the nationalist pride that such performances engendered and the critic reported at length about de la Ramas appearances as a goodwill mission of patriotic art.Footnote45 In the same 1926 tour, de la Rama made stops in Hong Kong and Yokohama, Japan prior to landing in Hawaii. Doreen Fernandez and Jonathan Chua (Manila: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2000), 20721, at 212. 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. These clothes contrasted notably with the Western-style dress worn by women who pursued higher education and those who were visible in professional spaces traditionally occupied by men. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). 1 Notes on terminology: I use Tagalog primarily to mean the language, while I use Filipino as descriptor for the people and Philippine culture more broadly. Si Ka Amado, labor leader, konsehal, makata, manunulat. 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. 3099067 In Dalagang Bukid, de la Rama played the part of Angelita, a young girl working as a flower vendor who embodied the virtuous Filipina amidst the backdrop of Manilas bustling nightlife. This approach allows me to situate the sarsuwela stage as part of a growing industry that included vaudeville, early cinema, sound recording, and radio. This juxtaposition of urban and rural highlighted the ideals of Filipino women being challenged by the corrupting influences of foreign liberal views, often embodied in the character of the bailarina who navigated the world of cabarets (kabaret in the Tagalog scripts) and dance halls in Manilas nightlife. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. De la Rama was a frequent performer in the Savoy Nifties, a prominent vaudeville act in Manila. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. For more on the history of the U.S. empire the Philippines, see Paul Kramer, Blood of Government: Race, Empire, the United States, and the Philippines (Chapel Hill: University of North Carolina Press, 2006).
Creative Authorship and the Filipina Diva Atang de la Rama 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. 21 Tiongson, Atang de la Rama, 59; Fernandez, Zarzuela to Sarswela, 331. Atang de la Rama. 33 See also Matthew Wittman, Empire of Culture: U.S. See Lacnico-Buenaventura, The Theater in Manila, 88. Soon after, fighting broke out between American and Filipino forces, which led to the deaths of hundreds of thousands of Filipino military and civilians.
National Artist For Theater - The Philippines Today In Sesangs Act II solo Ang Masayang Dalaga (The Coquette),Footnote29 for instance, she plays the seductress who confidently lures her admirer to an intimate dance. Besides here, his angelic voice also came . Original text is in English. By the age of 7 she was already starring in Spanish zarzuelas such as Mascota Sueo de un Vals and Marina. Movies. De la Rama.Footnote2. 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. This position ironically came from the male politicians advocating for independence. Nicanor Tiongson (Manila: Cultural Center of the Philippines, 2018). Atang dela Rama is billed 'The First Star of Philippine Cinema' as she portrayed the title role in Dalagang Bukid in 1919. 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). 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. On January 11, 1902, Honorata "Atang" de la Rama, National Artist for theater and music, was born in Pandacan, Manila. Angelita and Cipriano are the main protagonists in the sarsuwela. 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.
Honorata "Atang" Dela Rama - Provincial Government of Bulacan Opereta at Dula na ginampanan ni Atang sa 25 taon Personal Papers -- Certificates -- Awards Plays and Short Stories: Ang Aguinaldo ni Dante Plays and Short Stories: Ayaw sa Kapwa Artista Plays and Short Stories: Buod - Piso ni Anita Anvil Publishing.2004.
Honorata "ATANG" dela Rama - Philippine Artists,Traditions and Culture 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.
Atang de la Rama - Age, Birthday, Biography & Facts | HowOld.co She often looks out for those who distract her when she sings in the theater, and the moment she finishes, she goes down the stage and slaps whoever heckles her many times over. The works of Severino Reyes (18611942), one of the foremost playwrights of the Tagalog sarsuwela, are exemplary. 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. 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. 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. She died six months after her birthday Rama passed away on July 11, 1991, which was exactly six months after her 89th birthday. A survey of her extant recordings yields a discography of thirty-five Tagalog songs, mostly for Columbia records, from the 1920s to the late 1930s.Footnote48 A number of these songs, like Nabasag ang Banga and Masayang Dalaga, originate in sarsuwelas while others are Tagalog folk and novelty songs and duets recorded with Vicente Ocampo. For de la Rama, the terno became an essential component of her musical performances for both local and international audiences: I have always believed that the panuelo is an indispensable part of the Filipino terno and that without it the terno is incomplete. 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. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina.