The second in the list is Punyal ni Rosa with 366 performances. By the late 1920s, the traje de mestiza would evolve into the terno, a garment with a more streamlined design and prominent butterfly sleeves.Footnote60 The terno became the symbolic national dress worn by women in public and in various civic organizations. Registered in England & Wales No. 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. Born in Pandacan, Manila on January 11, 1905, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina by the age of five. She was married to National Artist for Literature, Amado V. Hernandez. 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. 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). 39 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. 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. Castros remarks on the artists rendition of Awit ng Pagkahibang and the reactions it elicited from the audience drives home the centrality of performance in the conception of a musical and theatrical work. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). De la Rama as dalagang bukid on the program cover for the December 7, 1919 benefit performance. Bernardino Buenaventura of Samahang Gabriel (Company Gabriel) rewrote it for the stage with music by Jose Z. Rivera. He was everything that didnt make money. On January 11, 1902, Honorata "Atang" de la Rama, National Artist for theater and music, was born in Pandacan, Manila. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. 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.. 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. 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. Menu. De la Rama was unique in successfully navigating these different performance platforms, allowing her to achieve a lasting career in Philippine theater and music throughout the twentieth century. In the dramas final act, the playwright imagines a Philippines in a state of regression under a female-led government. Atang de la Rama was born in Tondo Manila on January 11 1902. 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. theather. This double image of the Filipina is woven throughout de la Ramas other publicity photos. Such self-fashioning carried political significance, especially during the resurgence of nationalism and in the emerging womens movement during the 1920s and 1930s in the Philippines. The intricate folding of the panuelo is in itself an art, and it has been a constant source of wonder among foreigners. 2. [4] She has also been a theatrical producer, writer and talent manager. 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.. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 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. 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. Clutario notes how the Tagalog word kiri had become synonymous with the flapper, one of the dominant symbols of Filipina modernity in the late 1920s.Footnote27 This particular strain of Filipina modernity corresponds to the ways in which new fashion and beauty regimens became strongly tied to perceptions and subsequent depictions of the babae ngayon (woman of today), sexually liberated in stark contrast to the ideal Filipina. 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. 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. 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. 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. 51 From Lacnico-Buenaventuras 1985 interview with de la Rama. 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. She is still the Atang de la Rama of the popular Dalagang Bukid.Footnote31 Vera Reyess observations reveal how, after nearly a decade, de la Ramas reputation and early success in Dalagang Bukid remained fresh with theater goers in Manila, even as de la Rama had moved on to portray other characters, and after she had become popular in the thriving vaudeville stages of Manila in the mid1920s. 23 Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin, Liwayway (March 10, 1980). 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]. 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]. 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. 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. An article from 1932 in Manilas Spanish-language newspaper La Vanguardia, for example, announced the decline of the sarsuwela due to the profane and good for nothing vaudeville.Footnote35 Such commentaries underline the debates between high and low art that preoccupied composers and intellectuals of the period, and express their anxieties about American influence. At the age of 15, she starred in . See also Fernandez, Palabas, 8889. 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. 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. Born January 11, 1905 Died July 11, 1991 (86) Add or change photo on IMDbPro Add to list Known for Dalagang bukid 7.2 From de la Ramas nuanced characterizations of the virginal and idealized country maiden to the urbanized and flirtatious bailarina or cabaret dancer, her vocal command and onstage presence revolutionized the Tagalog sarsuwela scene in Manila from the 1920s through the prewar years. The most notable of these were Sakay, Anak Dalita, Kandelerong Pilak, Sergeant Hasan, Destination Vietnam, and The Evil Within. The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace. 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. For more information please visit our Permissions help page. Contemporary accounts portray de la Rama as a commanding authority on the theatrical stage. Original text: Atang, sta es la primera vez desde hace no s cuanto tiempo que oigo un kundiman nuestro. 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. Permission is granted subject to the terms of the License under which the work was published. In the local vaudeville circuit, for instance, she performed novelty songs in English and popular excerpts from Italian operas, including duets with the Italian baritone Mario Padovani. 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. 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. 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. Among the highlights of the production was the song performed by de la Rama, Awit ng Pagkahibang (Delirium Song) in the second act. 40 One of the earliest sources of the kundiman is found in Jos Honorato Lozanos lbum: Vistas de las Yslas Filipinas y Trages de sus Abitantes 1847, which featured two transcriptions of cundiman songs and an illustration of a scene with a dancing couple accompanied by a small ensemble of string and wind instruments. 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. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). 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. Angelita and Cipriano are the main protagonists in the sarsuwela. Academics echoed similar critiques. 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. Ang Kiri is an example of a subset of sarsuwelas from this period that contrasted urban cosmopolitan Manila with the idyllic countryside. See Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. In a tennis court scene showing the new types of social spaces that women could inhabit, Sesang appears wearing sports attire as she hangs out with her suitors. 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). She died six months after her birthday Rama passed away on July 11, 1991, which was exactly six months after her 89th birthday. People also read lists articles that other readers of this article have read. 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. 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. The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. 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]. Nicanor Tiongson (Manila: Cultural Center of the Philippines, 2018). She finds it impossible to keep on a balanced budget unless she helps her partner in lifethat is, she gets a job. The solo Nabasag ang Banga (The Clay Jar Broke) from the first act provides a description of Angelitas character. These accounts skip over the existence of the kundiman in the popular entertainment stages like bodabil, thus helping to eliminate de la Ramas influence from the historical record. 27 Clutario, The Appearance of Filipina Nationalism, 11011. 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. She died on July 11, 1991 in the Philippines. Throughout the late 1920s and 1930s, de la Rama continued to cross over from one performing media to another, breaking expectations of traditional Filipina femininity while asserting her own creative authority. 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.
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