atang dela rama awardshow to draw 15 degree angle with set square

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. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. The Order of National Artists (Orden ng Pambansang Alagad ng Sining) is the highest national recognition given to Filipino individuals who have made significant contributions to the development of Philippine arts; namely, Music, Dance, Theater . 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). She was named a national artist of the Philippines in 1987, at the age of 85. Her vocal technique and theatricality not only made her especially well-suited for the genre but also created the kundimans distinctive sentimentality and now-standard performative nuances. During the American. Hence, it is in Atang de la Ramas performance, her creative authorship, that the sarsuwelas are made real. She was widowed in 1970 In 1970, at the age of 68, her husband, Amado V. Hernandez, passed away. 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. De la Ramas Angelita sheds the image of the delicate country girl who, as the common Tagalog idiom implies, cannot break a plate (di makabasag pinggan). Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. Angelita and Cipriano are the main protagonists in the sarsuwela. By the 1920s and throughout the 1930s, the influx of American popular music (often collectively referred to by contemporary artists and critics as jazz) resulted in foxtrots, blues, Charleston (spelled tsarleston in the scripts), and, later on, the Hawaii an hula being incorporated into the sarsuwela repertoire. 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. 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. 5 Howick Place | London | SW1P 1WG. When there was a strike, he would order sacks of rice and cans of biscuits and charge them to me. 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]. Placing the performer and her creative labor front and center, I aim to contribute to the larger conversation surrounding the female voice as authorial and the performance as text. 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 Pandacan, Manila on January 11, 1902. A careful study of the life and career of de la Rama fills a huge gap in the history of the performing arts in the Philippines that has emphasized male playwrights, composers, and political elites in their representations of the Filipina. Although this pairing was at times fraught with rumors of domestic quarrels, de la Rama and Hernandez remained together, even after Hernandez was imprisoned for six years in the 1950s on charges of rebellion and associations with the communist movement.Footnote67 In one of her more candid postwar interviews, de la Rama spoke of how she supported the social causes that her husband championed: Oh, Ka Amado was a labor leader, councilor, poet, writer. 2 (2010): 35988, at 361. 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. 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. Cultural Center of the Philippines. 20 Remigio Mat Castro, Nabasag ang Banga? 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. I refuse to believe it, because you were, you are, and will always be my good protector and affectionate friend Ill wait for you, then. Copies of her scripts are found in the Manuscripts Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/home.htm). She navigated the theatrical stages of sarsuwela and bodabil fluidly, occasionally writing and producing shows herself. 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. Literature on the history of Philippine music and the performing arts often cites the transformation of the kundiman from a type of folk song and dance into an important art song genre through the hands of composers like Bonifacio Abdon and conservatory-trained composers Francisco Santiago and Nicanor Abelardo in the late 1910s and early 1920s. 25 Schenker, Empire of Syncopation, 25657. 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. Atang became the very first actress in the very first Tagalog film when she essayed the same role in the sarsuela's film version. 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". Order of National Artists of the Philippines, National Commission for Culture and the Arts, https://en.wikipedia.org/w/index.php?title=Atang_de_la_Rama&oldid=1130385614, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 29 December 2022, at 22:45. The second in the list is Punyal ni Rosa with 366 performances. The works of Severino Reyes (18611942), one of the foremost playwrights of the Tagalog sarsuwela, are exemplary. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). 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.. Recent musicological scholarship on women and performance in Southeast Asia carefully examines the conditions of colonialism in the region that compelled female performers to embrace creative ways to combine foreign musical elements with their vernacular. 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. 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 long career richly illustrates the power of the female voice in shattering gendered and prescriptive notions of Filipino nationalism that emerged in the 1920s and 1930s amidst anxieties over the Americanization of Filipino culture. See Tiongson, Atang de la Rama, 31. Although the text depicts an innocent and bucolic scene, de la Ramas performance of Nabasag ang Banga highlights a sexual subtext in which she plays teasingly with the demure and delicate dalagang bukid stereotype. 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. The centennial of local movies is celebrated this year, 2019.. But even as de la Rama was widely known as the Queen of the Kundiman, she also performed songs outside of the kundiman and Tagalog repertory and occasionally appeared in risqu performances. 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. 16 In his first solo, Romansa, Cipriano refers to Angelita as his banal na Birhen (holy Virgin [Mary]). 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. 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). 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. This created what Roces considers a dilemma in which Filipina suffragists supported the nationalist project while lobbying for a (male-dominated) government that would only serve to disenfranchise them. Yet throughout her life, de la Rama also actively took part in civic organizing, particularly for womens causes. 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. 73 De la Rama penned several sarsuwela scripts including Dalagang Silanganan (Maid of the East), Diwata ng Ipugaw (Fairy of Ifugao), and Anak ni Eba (Daughter of Eve). [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. Anvil Publishing.2004. 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. Despite the poor quality of some of the recordings, her voice remains striking in its clarity and vibrancy, a distinctive characteristic that resounded particularly well in early Philippine radio broadcasting. See Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. Dalagang Bukid showcases familiar scenes and social practices of early twentieth-century Manila, such as the cabaret and gambling, a favorite pastime of Angelitas parents, whose constant losses indebted them to Don Silvestre. 53 Lalake!!! Atang Dela Rama was born on January 11, 1905 in Manila, Philippines. 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. al., Fashionable Filipinas, 141. 11 Andrew N. Weintraub and Bart Barendregt, eds., Vamping the Stage: Female Voices of Asian Modernities (Honolulu: University of Hawaii Press, 2017), 2. 65 Roces, Is the Suffragist an American Colonial Construct, 37. Upon landing in a job she, however, either chooses to be financially independent of her husband (this usually happens when relations of husband and wife are [estranged]) or to remain a dependent of the husband.Footnote66. 3 (1993): 32043; and Nicanor Tiongson, A Short History of the Philippine Sarsuwela (1879-2009), Philippine Humanities Review: Sarsuwela 11, no. Nicanor Tiongson (Manila: Cultural Center of the Philippines, 2018). By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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 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). 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. 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. While de la Rama is famously associated with her role as the demure dalagang bukid, I call attention to how her versatility as an actor and her dynamic voice allowed for a more nuanced performance that pushed against flat representations of the shy and modest Filipina. Moreover, de la Ramas celebrity status did not rely solely on her vocal ability, but also on the visual aspects of her performances on- and offstage. Original text: Atang, sta es la primera vez desde hace no s cuanto tiempo que oigo un kundiman nuestro. She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. 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. Queen of the Kundiman and. These concerns may have been reflecting the dynamics of De la Ramas own marriage to the poet and labor leader Amado Hernandez. For more on the history of the womens movement in the Philippines, see Belinda A. Aquino, Filipino Women and Political Engagement, in More Pinay than We Admit (Quezon City: Vibal Foundation, 2010), 1738. and National Commission for Culture and the Arts. 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. Figure 2. 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. group 4 theater it is the direction, performance and/or production design the roster ofnational artists (theater) honorata 'atang' dela rama. 12 (2004): 75106, at 9798. 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. 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). 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. Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. 1 (1981): 7788, at 83. This is significant when the use of fashion negotiated multiple aspects of Filipina femininity at a time when womens roles in the larger society were changing rapidly, and as de la Rama shaped her own professional career in the Philippines and abroad. It is this sense of authorship that Hilary Poriss similarly argues for the critical work of prima donnas of the nineteenth century in their practice of altering operatic scores in performance, thereby challenging conceptions of authenticity of a given musical work.Footnote8 While Abbate and Poriss comment largely on the history and performance of European opera, such theorizations of the voice and of the performing artist are particularly helpful in teasing out the ways in which de la Ramas voice and stage presence position her as co-creator of sarsuwelas. 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. 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. I regret I am not seen often enough attending cultural events. Her performances on the sarsuwela stage refashioned stereotypical female characters. Several commentators unabashedly praised the diva in the local press. 9 See Denise Cruz, Transpacific Femininities: The Making of the Modern Filipina (Durham: Duke University Press, 2012); Genevieve A. Clutario, The Appearance of Filipina Nationalism: Body, Nation, Empire (PhD dissertation, University of Illinois at Urbana-Champaign, 2014); Mina Roces, Is the Suffragist an American Colonial Construct? 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 Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. One review in The Tribune expressed shock at how the demure little Queen of Kundiman steps out with some of the most wicked scandal-stuff imaginable. [1] Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 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. 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. Sawyer also campaigned for womens suffrage during this period and, as dance and theater historian Julie Malnig argues, linked the rhetoric of physical and psychological progress to dance and to womens new-found freedoms. See Julie Malnig, Two-Stepping to Glory: Social Dance and the Rhetoric of Social Mobility, Etnofoor 10, no. 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. A survey of her extant recordings yields a discography of thirty-five Tagalog songs, mostly for Columbia records, from the 1920s to the late 1930s.Footnote48 A number of these songs, like Nabasag ang Banga and Masayang Dalaga, originate in sarsuwelas while others are Tagalog folk and novelty songs and duets recorded with Vicente Ocampo. De la Rama died on July 11, 1991. 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. 22 The article was derived from a booklet published by Columbia Gramophone Company with a letter written by Sawyer, dated November 23, 1914. [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. 33 See also Matthew Wittman, Empire of Culture: U.S. This essay focuses on the career of Honorata Atang de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Through sound recordings, reviews, photos, and her own writings, I amplify de la Ramas musical and metaphorical voice to address the important role of women in Philippine music and popular culture. Vaudevilles early beginnings in the Philippines can be traced to a variety of theatrical entertainment by visiting American and European troupes in Manila in the late nineteenth century. As scholars of gender and womens history in the Philippines have argued, the early twentieth century is crucial in understanding how women were at the forefront of colonial encounters that ultimately shaped Philippine modernity and Filipinos struggles against and within the United States empire.Footnote9 Historian Genevieve Clutario, in particular, draws attention to how women used fashion and beauty regimens that did not neatly align with those imposed by the American colonial regime or those of Filipino nationalists who opposed womens suffrage and saw it as another form of American intervention.Footnote10 As a professional artist, de la Rama became a recognizable figure of the womens movement, serving as a model for the Filipina at work outside of the home. Proseguid, vuestro viaje, para dar a conocer a otras naciones y a los blancos nuestra capacidad para toda clase de menesteres, y que tambin tenemos artistas de quienes podemos enorgullecernos!. 3 Written histories of Spanish zarzuela in the Philippines often start with an account of the staging of Francisco Barbieris Jugar con Fuego, sometime between 1878 and 1879 by Dario Cspedes, who managed a zarzuela company in Spain prior to his arrival in Manila. Within this tension between the urban and the rural, representations of women often invoked expectations of Filipina femininity that conveyed a nostalgia for the pastoral lifestyle, a reaction to perceived encroachments of the foreign and the modern onto traditional Filipino values. In 1938, she formed her own theatrical group, the Compaia De la Rama, which staged sarsuwela repertoire and some Tagalog adaptations of European repertoire such as Puccinis Madama Butterfly.Footnote52 She wrote and directed shows for the bodabil stage which featured a mix of jazz and blues songs with Tagalog repertoire that she performed. This and all other translations are mine. p. 97-109. 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. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public 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.. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. These clothes contrasted notably with the Western-style dress worn by women who pursued higher education and those who were visible in professional spaces traditionally occupied by men. 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.

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