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. Siya pa rin ang Atang de la Rama ng napabantog na Dalagang Bukid., 32 Remigio Mat Castro, Pagkakaisa (January 12, 1930). 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. 50 Nick Deocampo, Film: American Influences on Philippine Cinema (Mandaluyong, Philippines: Anvil, 2017), 519. It is good that I am broad-minded and I knew that he helped the poor and the workers. This short song features de la Ramas use of vocal slides and a gruff timbre that intensifies as she sings the final verse: What seemed like an innocent and playful depiction of the mundane becomes tinged with innuendo as de la Ramas rendition of the final verse elicits boisterous and knowing laughter from her partner Ocampo. 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. Si Adan sa Paraiso (Man!!! The song ends with the maiden returning home in tears, explaining to her parents that an aswanga shapeshifting monster in Philippine mythologyscared her and took her jar, leaving her with nothing but her muddied clothes. De la Rama in different versions of the traje de mestiza and terno. 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. 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. Newspaper reviews between 1922 and 1925 remark on her performance of Tagalog song repertory, especially of kundiman songs, which contributed to her earning the moniker Queen of the Kundiman.Footnote39 While the kundiman has a long history that dates back to the early nineteenth century, it was during the 1920s that the genre became widely associated with its characteristic patriotic sentimentality and themes of national longing.Footnote40 Images of the ideal woman and the virtuous Filipina, often standing in as a symbol for the longed-for independent motherland, recur in many kundimans. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". 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. 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. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. 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. Her real . She became the very first actress in the very first . Courtesy of Adlai Lara. 21 Tiongson, Atang de la Rama, 59; Fernandez, Zarzuela to Sarswela, 331. 23 Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin, Liwayway (March 10, 1980). The solo Nabasag ang Banga (The Clay Jar Broke) from the first act provides a description of Angelitas character. 13 The womens movement in the Philippines further gained momentum in 1921 with the establishment of the National Federation of Womens Clubs that mobilized for suffrage. 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. [1] Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 3099067 The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. Doreen Fernandez and Jonathan Chua (Manila: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2000), 20721, at 212. 2 The original text is in Spanish. The second in the list is Punyal ni Rosa with 366 performances. Historical accounts of the 1919 Dalagang Bukid film version remark on how de la Rama, on occasion, performed the songs live and in synchrony with the film.Footnote51 In this early beginning of commercial cinema in the Philippines, it was de la Ramas voice from behind the curtain that provided the emotional depth to the novelty of images being projected on the screen. By the late 1910s and early 1920s, sarsuwela repertoire mirrored anxieties around the urbanization of Manila in striking contrast to the idyllic rural countryside. No recording of this song has so far materialized, but reviews of the sarsuwela underline the effectiveness of de la Ramas performance. The most notable of these were Sakay, Anak Dalita, Kandelerong Pilak, Sergeant Hasan, Destination Vietnam, and The Evil Within. See Gino Gonzales et. 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. 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. The intricate folding of the panuelo is in itself an art, and it has been a constant source of wonder among foreigners. Filipino zarzuelistas continued to perform Spanish repertoire at the same time that sarsuwelas in Tagalog and other local Philippine languages were on the rise at the turn of the twentieth century. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. Nicanor G. Tiongson. Tamang sagot sa tanong: MUSIC please help me() - studystoph.com Details Release date September 25, 1919 (Philippines) Country of origin Philippines Atang Dela Rama was born on 11 January 1905 in Manila, Philippines. 65 Roces, Is the Suffragist an American Colonial Construct, 37. 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!. The centennial of local movies is celebrated this year, 2019.. 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). 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. 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. 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. Yet throughout her life, de la Rama also actively took part in civic organizing, particularly for womens causes. al., Fashionable Filipinas, 141. Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. Angelita and Cipriano are the main protagonists in the sarsuwela. 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. 1/2 (1997): 12850, at 141. Today marks the 28th death anniversary of the Philippines massive star, Honorata "Atang" de la Rama born on January 11, 1902, and died in 1991. Such standardization of the classical kundiman includes a slow triple meter and a three-part form structure (the first two sections set in minor and the final section in the parallel major), which mirror the poetic narrative of anti-colonial struggle.Footnote41. theather. 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. In the recording, the song is introduced with a short comedic dialogue in which de la Rama plays the role of a vendor who sells rice cakes to the tenor Vicente Ocampo, who then tries to squirm out of paying for the bibingka he had just tasted. 64 Clutario, The Appearance of Filipina Nationalism, 224. PHILCLASSIC CHANNEL 7.74K subscribers Honorata "Atang" Dela Rama (1905-1991) National Artist for Theater and Music (1987) Honorata "Atang" Dela Rama was formally honored as the Queen of. In 1979, she was hailed as Queen of Kundiman, and in 1987, she was awarded as National Artist for Theater and Music. Read full biography. Deflecting the advances of this suitor, Angelita elopes with her childhood sweetheart, the law student Cipriano. 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. 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 Wilfredo Ma. 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. 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). Postwar productions changed the title to Ang Masayang Dalaga (The Happy Maiden), which reflects a subtler variation of the dalagang haliparot type. 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. The sarsuwela (also labeled in the Tagalog as opereta by its librettist Hermogenes Ilagan) was set to music by de la Ramas brother-in-law Leon Ignacio. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). Mabuti na lang at broad-minded ako at nalalaman ko ang tulong na ginagawa niya sa mahihirap at sa mga manggagawa. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. Photographs of de la Rama aided her popularity locally and abroad and served as additional sites for her performance of Filipina femininity. She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. Atang dela Rama was a graduate of BS Pharmacy in 1922. The characteristic bitin or prolonged delivery of cadential phrase endings mentioned earlier, for example, echo vocal techniques heard in de la Ramas own recordings. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. The other women awardees largely belonged to performing arts categories. 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. I would also like to thank Journal of Musicological Research editor Hilary Poriss and the journals anonymous reviewers for their invaluable feedback. 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. To complicate the stereotyped reading of the morally suspect flirt, however, de la Rama uses her voice to paint a subtler portrait of Sesangs struggle. p. 97-109. Second, I chart her rise to stardom alongside the emerging political voice of the womens movement in the 1920s and 1930s to highlight how de la Rama helped create a robust Filipina nationalism through her work and image as a performer. Original text is in English. De la Rama died on July 11, 1991. Atang believed that art should be for everyone; not only did she perform in major Manila theaters such as the Teatro Libertad and the Teatro Zorilla, but also in cockpits and open plazas in Luzon, the Visayas, and Mindanao. See Motoe Terami-Wada, Philippine Stage Performances During the Japanese Occupation, Philippine Studies 29, no. Atang became the very first actress in the very first Tagalog film when she essayed the same role in the sarsuela's film version. For de la Rama, the terno became an essential component of her musical performances for both local and international audiences: I have always believed that the panuelo is an indispensable part of the Filipino terno and that without it the terno is incomplete. Original text: Huwag namang daramdamin ng maraming artistang lumalabas sa Maria Luisa ay utang sa pagtupad ng Mutya ng Dulaang Tagalog ang lalong malaking bahagi ng tagumpay ng sarsuewlang ito. 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. Other photos of de la Rama from the 1930s onward show her holding the banga and wearing later versions of the balintawak that has a more straight-lined silhouette with matching fabric for the top and bottom parts of the dress. Cultural Center of the Philippines. (n.d.). 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). 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. Fernando Amorsolos Campesina (Peasant, 1927). Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. 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]. This and all other translations are mine. 54 Ignacio Manlapaz, Philippines Herald (April 1934). Perhaps it is only theater royalty who could get away with schooling their public. Contemporary accounts portray de la Rama as a commanding authority on the theatrical stage. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 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. She was married to National Artist for Literature, Amado V. Hernandez. 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). Rama fought for the dominance of the such as: kundiman, an important Philippine folk song, Theater (1968) and the sarsuela, which is a musical play that Doon sa Dakong Timog. As Nabasag ang Banga progresses, however, the playfulness she adds to her interpretation slowly complicates the image of the meek and virginal Filipina. 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. 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. The National Artists of the Philippines. 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. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. 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. 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. 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. Soon after, fighting broke out between American and Filipino forces, which led to the deaths of hundreds of thousands of Filipino military and civilians. 26 Sesang is labeled in the libretto as a dalagang haliparot, a descriptor for a young and licentious woman. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. and National Commission for Culture and the Arts. Though not the mythical glass-breaking sopranos voice, hers retains a youthful character similar to that of a soubrette, with its bright tone and fast vibrato which helps reinforce the image of the innocent young maiden. The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace. While Reyes extols the virtue and bravery of the Filipina, especially in her contributions to the revolution against Spain, he nevertheless reaffirms that the only natural place for women is in the home. Ang Kiri is an example of a subset of sarsuwelas from this period that contrasted urban cosmopolitan Manila with the idyllic countryside. Breaking down stereotypes: The divas voice, On the multiple stages of popular entertainment, Creating Filipina nationalism: The divas image, https://doi.org/10.1080/01411896.2021.1992595, https://www.flickr.com/photos/9307819@N05/2544474500/in/photostream/, http://nlpdl.nlp.gov.ph/AD01/clippings/NLPADB00811486/datejpg1.htm, http://nlpdl.nlp.gov.ph/NL02/NLPADGD40850fd/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00311420/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111373/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111378/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/home.htm, Medicine, Dentistry, Nursing & Allied Health. 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. In this emotionally charged number, Anita discovers that her daughter is missing; she alternates between looking for her child and spiraling into manic laughter as Don Justo attempts, but fails, to comfort her. 25 Schenker, Empire of Syncopation, 25657. 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. 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. Ruth A. Solie (Berkeley: University of California Press, 1993), 22558. I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. Her celebrity image and creative output arguably kept the Tagalog sarsuwela stage afloat, even in the midst of increasing competition from other forms of popular entertainment in the 1930s and toward the latter years of the American colonial period. 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. Permission will be required if your reuse is not covered by the terms of the License. 12 (2004): 75106, at 9798. As Roces argues, for the new class of working and professional women, [m]odernization required the abandonment of traditional dress when performing modern tasks.Footnote61, Figure 3. 14 From the typescript of the play Tatlong Babae: Ang Babae Bukas, act 3, p. 9, Severino Reyes Collection, Cultural Center of the Philippines Library and Archives, Pasay City, Philippines. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. 5 Howick Place | London | SW1P 1WG. It came to represent idealized images of Filipina femininity found in the sarsuwelas.Footnote56 This photo invites further reading on how de la Ramas own image carries a powerful influence separate from that created for her by the sarsuwelas authors. In Dalagang Bukid, de la Rama played the part of Angelita, a young girl working as a flower vendor who embodied the virtuous Filipina amidst the backdrop of Manilas bustling nightlife. 71 De la Rama was awarded the National Artist Award for theater and music. 2 (2010): 35988, at 361. At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. 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. 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. 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].
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