His 1914 work Ang Tatlong Babae (The Three Women), for example, reinforced the primary role of women as homemakers in projecting the ideal and patriotic image of the Filipina. 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. 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. 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. Louise Edwards and Mina Roces (London; New York, NY: Taylor and Francis, 2004), 2458. 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. Mabuti na lang at broad-minded ako at nalalaman ko ang tulong na ginagawa niya sa mahihirap at sa mga manggagawa. 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. 46 Ibid. 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. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. 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. Courtesy of the National Library of the Philippines, As Roces further points out, moreover, a complex politics of dress was carried out by the local suffragists, who purposefully used the traje de mestiza or terno in their civic-oriented work to counter those who perceived the movement as yet another form of colonial expansion. She died on 11 July 1991 in the Philippines. 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. 31 Franco Vera Reyes, Taliba (April 26, 1930). 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). 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. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). This treaty ceded the Philippines (along with Puerto Rico and Guam) to the United States in the aftermath of the Spanish-American war. 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. 63 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, 5. In the drama, Angelita is often referred to as gentle and ladylike; she carries an aura of virtue and innocence about her as she sells flowers in Manilas unsavory cabaret districts.Footnote16. She was widowed in 1970 In 1970, at the age of 68, her husband, Amado V. Hernandez, passed away. 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. Si Adan sa Paraiso, Plays and Short Stories Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00311420/datejpg1.htm). 19 Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. A democratic republic is one which guarantees the freedom to create, with no special instruction attached. In addition to the sarsuwela and bodabil stages, de la Rama commanded an audience via emerging new media such as audio recordings, radio, and film. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). Atang dela Rama is billed 'The First Star of Philippine Cinema' as she portrayed the title role in Dalagang Bukid in 1919. al., Fashionable Filipinas, 141. 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. 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. 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. 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. De la Rama was instrumental in the popularization of the Tagalog song repertory across these different entertainment platforms; she activated voice and image to play a central role in creating a Filipina femininity in the 1920s that challenged expectations of womens work as solely devoted to home and family life. Deflecting the advances of this suitor, Angelita elopes with her childhood sweetheart, the law student Cipriano. 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. 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. She soon became a solo headliner, performing in Manila's largest theaters such as the Savoy, the Palace, and the Lux. 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. Cultural Center of the Philippines. "Atang" de la Rama was born in Pandacan, Manila on January 11, 1902. Angelitas parents plan to marry her off to the much older and wealthy loan shark Don Silvestre. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. See Motoe Terami-Wada, Philippine Stage Performances During the Japanese Occupation, Philippine Studies 29, no. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. Nicanor Tiongson (Manila: Cultural Center of the Philippines, 2018). 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. At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. 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). In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. Original text is in English. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 1/2 (1997): 12850, at 141. 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. 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. 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. For a detailed account of the different theater venues that staged Spanish and Tagalog repertoire throughout the nineteenth and early twentieth centuries, see Cristina Lacnico-Buenaventura, The Theater in Manila, 1846-1946 (Manila: De La Salle University Press, 1994). 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.
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