During the American. As of this writing, there are 7 National Artist for Theater awardees. Early life . 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. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. When there was a strike, he would order sacks of rice and cans of biscuits and charge them to me. 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. Atang de la Rama was born in Tondo Manila on January 11 1902. 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. TV Shows. 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. Siya pa rin ang Atang de la Rama ng napabantog na Dalagang Bukid., 32 Remigio Mat Castro, Pagkakaisa (January 12, 1930). See also Angel Velasco and Luis Francia, Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999 (New York: New York University Press, 2002). By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. The works of Severino Reyes (18611942), one of the foremost playwrights of the Tagalog sarsuwela, are exemplary. On this Wikipedia the language links are at the top of the page across from the article title. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). 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). 61 Roces, Is the Suffragist an American Colonial Construct, 45. 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. 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. 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? 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. 2 The original text is in Spanish. The Philippine-American war officially ended in 1902, while pockets of armed resistance continued in various provinces and locales outside of Manila at least until 1913. Throughout the sarsuwela, the urbanization of Manila and its perceived vices are placed in subtle contrast against the idyllic image of the countryside represented through the character of Angelita. De la Ramas voice resonates through the writers own recollection as it vividly creates the experience of the sarsuwela for its audience. Academics echoed similar critiques. Angelita ( Atang de la Rama ), a young flower vendor who works in front of a cabaret named Dalagang Bukid, and poor law student Cipriano (Marceliano Ilagan) are in love. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). 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. 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. Here, she is deliberate in her pauses and vocal slidescommonly referred to in Filipino music parlance as bitin and hagodand leaves the listener with a sense of vertiginous hanging just before the final cadence. 2021 Felice P Sta Maria 2019 Danny E Dalena 2018 Atang Dela Rama on IMDb: Awards, nominations, and wins. al., Fashionable Filipinas, 141. I am not arguing that de la Ramas creative power and influence relies on her performance alone and that her work as an artist occludes her output as a writer: de la Rama left a rich and resonant archive of her original drafts of short stories, comedic sketches, personal essays, and sarsuwela librettos, evidence of a thriving intellectual life that accompanied her career in performance.Footnote73 Instead, what I am suggesting is that the artist herself has the authority over her own performancein all its aural and visual manifestationsfleshing out alternative ways of thinking about and listening to a musical and theatrical work. 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. On January 11, 1902, Honorata "Atang" de la Rama, National Artist for theater and music, was born in Pandacan, Manila. 43 Peter Keppy, Tales of the Southeast Asian Jazz Age, 80. As such, her work serves as a critical example of an artists rewriting of gendered identities embedded in the text and music. And she gets away with it.Footnote47 While there are only a few accounts of de la Ramas performances outside of the kundiman repertoire, recordings provide more information about the breadth of styles and repertoire in which she excelled. She became the very first actress in the very first . The manuscript piano-vocal score and libretto of Dalagang Bukid is located in the Manlapaz Collection of the Pardo de Tavera Library and Special Collections at the Ateneo de Manila University (PL5548.3.I54 D3). [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. 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 Courtesy of Adlai Lara. al., Fashionable Filipinas, 141. Rejecting the idea that their campaign grew out of an American cultural construction of the feminine, Filipina suffragists took to what they called panuelo activism in their use of the terno and reasserted the idea that the womens suffrage was, indeed, a Filipino project.Footnote62. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un . 64 Clutario, The Appearance of Filipina Nationalism, 224. 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. By the late 1910s and early 1920s, sarsuwela repertoire mirrored anxieties around the urbanization of Manila in striking contrast to the idyllic rural countryside. 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. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. 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. Becks store sold radios and phonographs and was the distributor of Columbia records in Manila. These recordings showcase de la Ramas vocal prowess and range. For a fascinating study on commemoration, prestige, and nation-building in the National Artist Award in the Philippines, see Neal D. Matherne, Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award, (PhD dissertation, University of California, Riverside, 2014). 56 Gino Gonzales, Mark Lewis Higgins, Sandra B. Castro, Ramon N. Villegas, and Jo Ann Bitagcol, Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs, 18601960 (Makati City, Philippines: Slims Legacy Project, 2015), 280. and National Commission for Culture and the Arts. 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. 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). 2 (2010): 14986. On September 4, 1915, a lengthy article on the foxtrot by American ballroom dancer Joan Sawyer appeared in the Manila weekly journal The Independent, complete with detailed instructions and suggestions for which music should accompany the dance.Footnote22 Incorporating a foxtrot in the sarsuwela also points to a standard practice of using globally circulating popular musics in sarsuwela scores. As she embarked on her Hawaii tour, she was featured on the front page of the July 1926 issue of The Womans Outlook, a magazine that was dedicated to promoting womens progress during the 1920s (see Figure 4). 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. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. Besides here, his angelic voice also came . 16 In his first solo, Romansa, Cipriano refers to Angelita as his banal na Birhen (holy Virgin [Mary]). At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". This later version of the balintawak developed strong associations with the rural countryside such as the town of Antipolo where the more affluent Manileos would visit for summer jaunts and picnics.Footnote57, Figure 1. 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.
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