theather. 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. I use the feminine form Filipina to mean Filipino women and, more specifically, the work of de la Rama in relation to the history of cultural nationalism in the Philippines. She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. In the closing verse, de la Rama performs with more urgency as the text describes the dance floor as a heaven where the bailarina sings of her dreams. 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. 25 Schenker, Empire of Syncopation, 25657. 6 See, for example, Patricia Marion Lopez, Imaging Women in the Zarzuela, Philippine Humanities Review: Sarsuwela 11, no. 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? Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. 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. Atang Dela Rama on IMDb: Awards, nominations, and wins. This position ironically came from the male politicians advocating for independence. We use cookies to improve your website experience. 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.. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 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. 59 Gonzales et. 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. 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. Among the highlights of the production was the song performed by de la Rama, Awit ng Pagkahibang (Delirium Song) in the second act. 2. 54 Ignacio Manlapaz, Philippines Herald (April 1934). By the age of 7 she was already starring in Spanish zarzuelas such as Mascota Sueo de un Vals and Marina. 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. Several commentators unabashedly praised the diva in the local press. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". Beyond the sarsuwela stage, de la Ramas work in vaudeville, film, and radio complicate perceptions of a Filipino culture wholly subject to the cultural logics of American colonialism. The centennial of local movies is celebrated this year, 2019.. On December 7, 1919, the Compaa Ilagan staged the Tagalog sarsuwelaFootnote1 Dalagang Bukid (Country Maiden) for the benefit of its star artist, Honorata Atang de la Rama (19021991), whose public entreaty can be found in the productions playbill: Beloved public: your dalagang bukid gives her benefit Sunday night If you come to see me I will cry with joy and delight; but if you do not honor me with your presence, I will truly mourn, much like how Angelita cries when she is disappointed with her beloved Cipriano. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. 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). They are. The striking cabaret scenes portray glimpses of the leisurely life of young, middle-class men and of bailarinas. 14 From the typescript of the play Tatlong Babae: Ang Babae Bukas, act 3, p. 9, Severino Reyes Collection, Cultural Center of the Philippines Library and Archives, Pasay City, Philippines. People also read lists articles that other readers of this article have read. The solo Nabasag ang Banga (The Clay Jar Broke) from the first act provides a description of Angelitas character. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. 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. 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. Academics echoed similar critiques. For more information please visit our Permissions help page. 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. Breaking down stereotypes: The divas voice, On the multiple stages of popular entertainment, Creating Filipina nationalism: The divas image, https://doi.org/10.1080/01411896.2021.1992595, https://www.flickr.com/photos/9307819@N05/2544474500/in/photostream/, http://nlpdl.nlp.gov.ph/AD01/clippings/NLPADB00811486/datejpg1.htm, http://nlpdl.nlp.gov.ph/NL02/NLPADGD40850fd/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00311420/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111373/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111378/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/home.htm, Medicine, Dentistry, Nursing & Allied Health. Because of her ubiquitous visibility in the artistic and civic life in the Philippines, her name has outlived those of most other artists of the sarsuwela stage, and her career withstood the changes and technological advances in mass media that occurred throughout her long life. 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". Atang dela Rama Born Honorata de la Rama January 11, 1905 Tondo, Manila, Philippine Islands Died July 11, 1991 (aged 86) Manila, Philippines Occupation Filipino singer and actress Years active 1919-1956 Spouse(s) Amado V. Hernandez Awards National Artist for Theater and Music 1987 Atang de la Rama was born in Tondo, Manila on January 11, 1905. . De la Rama was a frequent performer in the Savoy Nifties, a prominent vaudeville act in Manila. I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. 16 In his first solo, Romansa, Cipriano refers to Angelita as his banal na Birhen (holy Virgin [Mary]). 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. At age fifteen, de la Rama had her first opportunity to complicate the figure of the demure Filipina maiden when she made her debut in Dalagang Bukid in 1917. Her performances on the sarsuwela stage refashioned stereotypical female characters. Atang de la Rama. 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. Lahat na lang ng di mapagkakakitaan, nasa kanya na. 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. Other photos of de la Rama from the 1930s onward show her holding the banga and wearing later versions of the balintawak that has a more straight-lined silhouette with matching fabric for the top and bottom parts of the dress. National Commission for Culture and the Arts. While playwrights and composers at the turn of the twentieth century used the term zarzuela for their Tagalog-language works, the term sarsuwela (alternatively spelled sarswela or sarsuela) did not come into use until the late 1910s and early 1920s and, by then, were often used interchangeably with opereta. In this essay, I follow scholars Nicanor Tiongson and Doreen Fernandez in their use of sarsuwela as a general term to mean works produced in any of the local languages in the Philippines, including Tagalog-language repertoire, from the early 1900s to the present. Siya pa rin ang Atang de la Rama ng napabantog na Dalagang Bukid., 32 Remigio Mat Castro, Pagkakaisa (January 12, 1930). Atang de la Rama was born in Pandacan, Manila on January 11, 1902. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public life. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 50 Nick Deocampo, Film: American Influences on Philippine Cinema (Mandaluyong, Philippines: Anvil, 2017), 519. De la Ramas voice resonates through the writers own recollection as it vividly creates the experience of the sarsuwela for its audience. The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace.
Does Ben Napier Really Work On The Houses,
Articles A