Proseguid, vuestro viaje, para dar a conocer a otras naciones y a los blancos nuestra capacidad para toda clase de menesteres, y que tambin tenemos artistas de quienes podemos enorgullecernos!. 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. 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. As of this writing, there are 7 National Artist for Theater awardees. 2 (2010): 35988, at 361. 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. Menu. 2 The original text is in Spanish. 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. 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. On this Wikipedia the language links are at the top of the page across from the article title. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public life. 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. 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. 54 Ignacio Manlapaz, Philippines Herald (April 1934). 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). 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. [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. She was the producer and the writer of plays such as Anak ni Eva and Bulaklak ng Kabundukan. 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. I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. 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. 13 The womens movement in the Philippines further gained momentum in 1921 with the establishment of the National Federation of Womens Clubs that mobilized for suffrage. p. 97-109. (n.d.). Recent musicological scholarship on women and performance in Southeast Asia carefully examines the conditions of colonialism in the region that compelled female performers to embrace creative ways to combine foreign musical elements with their vernacular. 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. These tensions between new and old, modern and traditional were mapped onto expectations of Filipina femininity against which de la Ramas performances continued to creatively rebel. 24 See Peter Keppy, Tales of the Southeast Asian Jazz Age: Filipinos, Indonesians and Popular Culture, 19201936 (Singapore: NUS Press, 2019); also Frederick J. Schenker, Empire of Syncopation: Music, Race, and Labor in Colonial Asias Jazz Age (PhD dissertation, University of Wisconsin, Madison, 2016). 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. Permission is granted subject to the terms of the License under which the work was published. 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. 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. 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. See Tiongson, Atang de la Rama, 31. 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. 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. 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. 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. 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 Original text is in English. 27 Clutario, The Appearance of Filipina Nationalism, 11011. This position ironically came from the male politicians advocating for independence. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). 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. 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). National Artist of the Philippines - Wikipedia Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. A sense of this interpretation can be gleaned from her recording of this pivotal song released years following the sarsuwelas premiere.Footnote17 Listening to the recording of Nabasag ang Banga, the power of de la Ramas voice is defined less by its intensity and more by the preciseness of her pitch and clarity of her tone. De la Ramas dual image of the traditional Filipina and the cosmopolitan professional artist strikingly parallels these multiple strategies, and her inclusion in the publication highlights how her rising status as an international celebrity lent particular potency to the idea of feminine progress in the Philippines. 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). 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. 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. The National Artists of the Philippines. Atang believed that art should be for everyone; not only did she perform in major Manila theaters such as the Teatro Libertad and the Teatro Zorilla, but also in cockpits and open plazas in Luzon, the Visayas, and Mindanao. The patriotic anthem Bayan Ko (My Country), perhaps the most famous and enduring kundiman in Philippine music history, was also popularized by de la Rama.Footnote42 Yet standard accounts ignore the critical role she played, instead tracing the development of the kundiman from its origins in a handful of songs created during the Revolutionary period at the turn of the twentieth century to the art songs of the conservatory composers. 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. HONORATA "ATANG" DE LA RAMA (1902-1991) National Artist The Order of National Artists (Orden ng Pambansang Alagad ng Sining) is the highest national recognition given to Filipino individuals who have made significant contributions to the development of Philippine arts; namely, Music, Dance, Theater . 43 Peter Keppy, Tales of the Southeast Asian Jazz Age, 80. Claiming to reproduce first-hand impressions from a letter by de la Rama, the Philippine Free Press article mentioned that she met, among others, Artemio Ricarte, a popular Filipino general during the 1896 Revolution against Spain and the Philippine-American War, who was living in exile in Japan for his role in the fight for Philippine independence. 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. 65 Roces, Is the Suffragist an American Colonial Construct, 37. [4], Generations of Filipino artists and audiences consider Atang de la Rama's vocal and acting talents as responsible for much of the success of original Filipino sarsuelas like Dalagang Bukid, and dramas like Veronidia. (Manila: Paredes, 1923). Birth anniversary of National Artist Atang de la Rama But even as de la Rama was widely known as the Queen of the Kundiman, she also performed songs outside of the kundiman and Tagalog repertory and occasionally appeared in risqu performances. She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. But how can you remain relaxed at home on that night, knowing that Atang celebrates her gala of honor? 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. 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. Despite the poor quality of some of the recordings, her voice remains striking in its clarity and vibrancy, a distinctive characteristic that resounded particularly well in early Philippine radio broadcasting. Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. Atang Dela Rama Angelita Mar I. Esmeralda Director Jose Nepomuceno Writers Leon Ignacio (story) Hermogenes Ilagan (story) All cast & crew Production, box office & more at IMDbPro Storyline Edit Did you know Trivia Considered as the first Filipino movie made. She was married to National Artist for Literature, Amado V. Hernandez. 28 In Sesangs first entrance at the opening party scene, for example, the libretto instructs the actor to appear in a dress dcolletage (nakabestidong escotado). Creative Authorship and the Filipina Diva Atang de la Rama By the age of 7 she was already starring in Spanish zarzuelas such as Mascota Sueo de un Vals and Marina. 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. Her consistent pairing of the Filipino dress, the terno, with global beauty trends in makeup and hairstyles revealed a self-fashioning practice that was simultaneously modern and traditional, Filipino and cosmopolitan. 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". 48 This survey is from various sources: Yesteryear Recording Kamuning: Remastered (see footnote 17); Elizabeth Enriquez, Appropriation of Colonial Broadcasting: A History of Early Radio in the Philippines, 1922-1946 (Diliman, Quezon City: University of the Philippines Press, 2008), 213; Schenker, Empire of Syncopation, 497. 68 Atang de la Rama: Sarsuwela Star, Philippine Panorama (August 28, 1983). Louise Edwards and Mina Roces (London; New York, NY: Taylor and Francis, 2004), 2458. At the height of her career, she sang kundimans and other Filipino songs in concerts in such cities as Hawaii, San Francisco, Los Angeles, New York City, Hong Kong, Shanghai, and Tokyo. In the dramas final act, the playwright imagines a Philippines in a state of regression under a female-led government. Born January 11, 1905 Died July 11, 1991 (86) Add or change photo on IMDbPro Add to list Known for Dalagang bukid 7.2 MUSIC please help me() 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. 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. 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]. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. Atang Dela Rama is a national artist for theater and music queen of kundiman. Adam in Paradise) that is set on an island full of women, all of whom pursued a stranded and hapless man with a mix of enticing dialogs, songs, and comedic repartees.Footnote53 This is a side of de la Ramas stage career that is not well known, one that stands in striking contrast to her reputation as the demure country maiden. 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. In her introduction to an essay collection on technology and the figure of the diva, musicologist Karen Henson remarks on how the diva is created when sopranos, audience members and one or more technologies come together. In this process, the visual replaces the aural and refutes the notion that the divas authenticity only resides in the pure power of the voice and vocal expression.Footnote55 De la Ramas celebrity photographs became a crucial medium in which her images circulated, creating a diverse set of audiences beyond those who witnessed her on the theatrical stage. Dalagang bukid (1919) - IMDb 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]. 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. 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]. Read full biography. She frequently performed at rallies and events organized by various womens groups like Panitik Kababaihan (a womens literary society), Kaisahan ng Kababaihan sa Pilipinas (where she served as president), the Women Auxiliary of the Confederation of Labor Organization, and the Ladies Association in her hometown of Gagalangin, Tondo. 45 El Poder del Kundiman, Philippines Free Press (August 21, 1926). 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 Pandacan, Manila on January 11, 1902. As such, her work serves as a critical example of an artists rewriting of gendered identities embedded in the text and music. 38 Santiago, The Development of Music in the Philippine Islands, 516. al., Fashionable Filipinas, 141. 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. 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? Figure 4. Atang de la Rama - Age, Birthday, Biography & Facts | HowOld.co 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. She was named a national artist of the Philippines in 1987, at the age of 85. 23 Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin, Liwayway (March 10, 1980). 10 Clutario, The Appearance of Filipina Nationalism, 2. 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. 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). TV Shows. [3] For other contemporary academic critiques to jazz, see Keppy, Tales of Southeast Asias Jazz Age, 8283. Atang de la Rama - geni family tree Today marks the 28th death anniversary of the Philippines massive star, Honorata "Atang" de la Rama born on January 11, 1902, and died in 1991. Remembering The Philippines Biggest Star: Atang De La Rama 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. 44 Schenker, Empire of Syncopation, 419. Soon after, fighting broke out between American and Filipino forces, which led to the deaths of hundreds of thousands of Filipino military and civilians. 25 Schenker, Empire of Syncopation, 25657. 1 (1981): 7788, at 83. The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. 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. 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. Atang Dela Rama - Other Works - IMDb 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 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 Pandacan, Manila January 11, 1902 See Motoe Terami-Wada, Philippine Stage Performances During the Japanese Occupation, Philippine Studies 29, no. As a localized form of the Spanish zarzuela,Footnote3 the sarsuwela flourished in the archipelago through the work of playwrights, composers, and artists who projected the mundane and the political in their everyday colonial experience under occupation by the United States.Footnote4 Early advocates of the sarsuwela envisioned the genre as a vehicle for moral and cultural uplift of its local audience in a bid to establish a national theater.Footnote5 Tagalog-language repertoire from the first decades of the twentieth century ranged from critiques of colonialism and its legacies of blind religiosity and superstition of the native population to various vices such as alcoholism, gambling, and prostitution among Manilas emerging working class. Registered in England & Wales No. See Helen F. Samson-Lauterwald, Music in the Sarsuwelas of Severino Reyes (Lola Basyang) (Diliman, Quezon City: University of the Philippines Press, 2016). 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. Conferring the National Artist Award on Atang de la Rama, President Aquino says that the best in culture and the arts is achieved in a climate of political freedom. The Order of National Artists of the Philippines (Filipino: Orden ng mga Pambansang Alagad ng Sining ng Pilipinas) is an order bestowed by the Philippines on Filipinos who have made significant contributions to the development of Philippine art.Members of the Order are known as National Artists.Originally instituted as an Award, it was elevated to the status of an order in 2003. 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.
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