Birth anniversary of National Artist Atang de la Rama WATCH: 8 Philippine National Artists for Theater - TheaterFansManila.com 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. 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. The second in the list is Punyal ni Rosa with 366 performances. Theater scholars have noted that de la Rama danced while singing Nabasag ang Banga during some performances.Footnote21 Her bakya (wooden clog slippers) tapping to the foxtrot rhythm poses a striking contrast to the image of the country maiden, projecting an ambivalent and playful reflection on U.S. American cultural influences. 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. 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). Atang de La Rama | PDF | Philippines - Scribd This approach allows me to situate the sarsuwela stage as part of a growing industry that included vaudeville, early cinema, sound recording, and radio. See Motoe Terami-Wada, Philippine Stage Performances During the Japanese Occupation, Philippine Studies 29, no. [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 - Wikipilipinas As Andrew N. Weintraub and Bart Barendregt have remarked, the ascendancy of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, and women as business entrepreneurs and independent income earners and as models for new lifestyles.Footnote11 De la Ramas performing career on the multiple stages of musical theater and popular entertainment in the Philippines richly illustrates this dynamic. Ruth A. Solie (Berkeley: University of California Press, 1993), 22558. She was widowed in 1970 In 1970, at the age of 68, her husband, Amado V. Hernandez, passed away. 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. Original text: Tumutulong si Atang de la Rama upang ang mga may pangit na asal na nanonood sa mga dulaan ay matutong gumalang sa arte. 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. Atang Dela Rama - Biography - IMDb Gawad Tanglaw ng Lahi | Traditional University Awards | Ateneo de Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. Ki a kundiman s zarzuela kirlynje? In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). Anvil Publishing.2004. De la Rama.Footnote2. The woman general, Heneral Emilia, is an unmistakable reference to Emilio Aguinaldo (18691964), a general during the Philippine Revolution against Spain and the first Filipino president. 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. 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. They are. Registered in England & Wales No. She died on 11 July 1991 in the Philippines. De la Ramas celebrity status also carried through the visual aspects of her public persona on and off stage, cultivating an image that was both modern and traditional, Filipino and cosmopolitan. 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. 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. 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. 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. 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. 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. No recording of this song has so far materialized, but reviews of the sarsuwela underline the effectiveness of de la Ramas performance. Just as the womens movement was gaining ground in the Philippines, de la Rama harnessed the power of the visual, constructing her celebrity as much from her image as a professional and cosmopolitan artist as from her iconic status as the dalagang bukid.. 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. She was the producer and the writer of plays such as Anak ni Eva and Bulaklak ng Kabundukan. Honorata "Atang" Dela Rama - Provincial Government of Bulacan 71 De la Rama was awarded the National Artist Award for theater and music. 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). Creative Authorship and the Filipina Diva Atang de la Rama This consisted of a top called the camisa, the saya skirt, and the pauelo, which evolved from a functional modesty shawl into a more decorative lapel sewn onto the camisa.Footnote59 The traje de mestiza was worn by upper class Filipino women and was reserved for evening- and formalwear. 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. 2 (2010): 14986. 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. Atang Dela Rama - Other Works - IMDb 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. 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 sartorial imagery of the dalagang bukid became a standard for young women who had their portraits taken in the 1920s and 1930s, wearing balintawak with pastoral backgrounds and using props such as a banga or clay jug and baskets of flowers or produce. 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. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. Spanish artists Elisea Raguer and Alejandro Cubero soon followed and were later responsible for training local artists such as Nemesio Ratia, Jos Carvajal, and Prxedes Yeyeng Fernndez, all of whom subsequently formed their own companies. 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. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. Atang de la Rama. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). 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. 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. 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. 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. She was named a national artist of the Philippines in 1987, at the age of 85. 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). I would also like to thank Journal of Musicological Research editor Hilary Poriss and the journals anonymous reviewers for their invaluable feedback. 21 Tiongson, Atang de la Rama, 59; Fernandez, Zarzuela to Sarswela, 331. 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. About: Atang de la Rama - DBpedia Speech of President Corazon Aquino at the National Artist Award 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. BIBINGKA by Honorata Atang de la Rama - YouTube Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. HONORATA "ATANG" DE LA RAMA (1902-1991) National Artist 3 (1993): 32043; and Nicanor Tiongson, A Short History of the Philippine Sarsuwela (1879-2009), Philippine Humanities Review: Sarsuwela 11, no. 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. 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. 60 The term terno emerged in the late 1900s and originally referred to the use of a single type of material (like the sinamay or abac fabric) for the camisa, pauelo, and saya of the dress, creating a more uniform and matching look. 55 Karen Henson, Introduction: Of Modern Operatic Mythologies and Technologies, in Technology and the Diva: Sopranos, Opera, and Media from Romanticism to the Digital Age, ed.
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