atang dela rama awards

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. Atang de la Rama Collection: Manuscripts Home: Contents; Personal Papers -- Amado V. Hernanadez . 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. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. 48 This survey is from various sources: Yesteryear Recording Kamuning: Remastered (see footnote 17); Elizabeth Enriquez, Appropriation of Colonial Broadcasting: A History of Early Radio in the Philippines, 1922-1946 (Diliman, Quezon City: University of the Philippines Press, 2008), 213; Schenker, Empire of Syncopation, 497. Another way to consider de la Ramas performance and creation of Filipina nationalism is through the image of the diva and the symbolic power it carried. 66 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, 4). For more on the history of the U.S. empire the Philippines, see Paul Kramer, Blood of Government: Race, Empire, the United States, and the Philippines (Chapel Hill: University of North Carolina Press, 2006). As Nabasag ang Banga progresses, however, the playfulness she adds to her interpretation slowly complicates the image of the meek and virginal Filipina. 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. Continue your trip to show other nations and whites our capacity for all kinds of pursuits and that we also have artists that we can be proud of!Footnote46 Such adulation underlines de la Ramas inextricable connection to the song form and her role in crafting kundimans canonic place in Philippine music. In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. 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. 55 Karen Henson, Introduction: Of Modern Operatic Mythologies and Technologies, in Technology and the Diva: Sopranos, Opera, and Media from Romanticism to the Digital Age, ed. 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. 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). [1] Atang de la Rama was born in Pandacan, Manila on January 11, 1902. As of this writing, there are 7 National Artist for Theater awardees. [3] 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. In the 1930s, de la Rama was on the roster of artists in the KZIB radio station founded by the American department store owner Isaac Beck. Also formally recognized as a National Artists for Theater and Music by Former President Corazon Aquino for Honorita's love . 41 See Antonio C. Hila, Ramon P. Santos, and Arwin Q. Tan, Kundiman, in Cultural Center of the Philippines Encyclopedia of Philippine Art, 2nd ed., ed. 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. 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. 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. 2 (2010): 14986. 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. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. Permission will be required if your reuse is not covered by the terms of the License. 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. In the latter part of this essay, I pair my analyses of de la Ramas musical voice with her strong visual presence in commercial photography and print media during the 1920s and 1930s. 2 (2010): 35988, at 361. De la Ramas performances were at once sources of musical authorship and powerful testaments to womens creative work that has long been overlooked in the historiography of Philippine music and culture. Pag may welga, magpapakuha yan ng saku-sakong bigas at lata ng biskuwit kayat palaging laslas ang bulsa ni Atang de la Rama. Emphasis in the original article. Original text is in English. 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. National Commission for Culture and the Arts. The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace. Original text: Tumutulong si Atang de la Rama upang ang mga may pangit na asal na nanonood sa mga dulaan ay matutong gumalang sa arte. By 1925, de la Cruz was the highest paid . 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. 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. 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". Original text: Ay naku! 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. Early life . 6 See, for example, Patricia Marion Lopez, Imaging Women in the Zarzuela, Philippine Humanities Review: Sarsuwela 11, no. De la Rama in different versions of the traje de mestiza and terno. 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. 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. Because of her ubiquitous visibility in the artistic and civic life in the Philippines, her name has outlived those of most other artists of the sarsuwela stage, and her career withstood the changes and technological advances in mass media that occurred throughout her long life. 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. 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. Contemporary accounts portray de la Rama as a commanding authority on the theatrical stage. De la Ramas voice resonates through the writers own recollection as it vividly creates the experience of the sarsuwela for its audience. During the American. 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. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. On January 11, 1902, Honorata "Atang" de la Rama, National Artist for theater and music, was born in Pandacan, Manila. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). 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. 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. De la Rama on the front cover of The Womans Outlook (July 1926 Issue). Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. 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. 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). 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.. 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. 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. See Lacnico-Buenaventura, The Theater in Manila, 88. 3099067 Deflecting the advances of this suitor, Angelita elopes with her childhood sweetheart, the law student Cipriano. 65 Roces, Is the Suffragist an American Colonial Construct, 37. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. By the late 1910s and early 1920s, sarsuwela repertoire mirrored anxieties around the urbanization of Manila in striking contrast to the idyllic rural countryside. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". 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. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? Courtesy of Adlai Lara. Permission is granted subject to the terms of the License under which the work was published. He was everything that didnt make money. Copies of her comedy sketches includes a short skit entitled Lalake!!! In 1901, for example, a show advertised as a Novelty in Manila was held at the Teatro Zorrilla that included a variety of acts, ragtime numbers, acrobatics, and minstrelsy performances accompanied by a Good American Orchestra. See Doreen Fernandez, Apolonio B. Chua, and Galileo S. Zafra, Bodabil, in Cultural Center of the Philippines Encyclopedia of Philippine Art, 2nd ed., Nicanor Tiongson (Manila: Cultural Center of the Philippines, 2018). Motoe Terami-Wada also mentions de la Ramas stage engagements in 1943 during the Japanese Occupation where she led sarsuwela performances through the auspices of the organization Musical Philippines. 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. 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). Atang dela Rama was a graduate of BS Pharmacy in 1922. 24 See Peter Keppy, Tales of the Southeast Asian Jazz Age: Filipinos, Indonesians and Popular Culture, 19201936 (Singapore: NUS Press, 2019); also Frederick J. Schenker, Empire of Syncopation: Music, Race, and Labor in Colonial Asias Jazz Age (PhD dissertation, University of Wisconsin, Madison, 2016). 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. 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. Reflecting on the domestic and economic concerns of the working woman, she commented: It is not for selfish motives that a Filipino woman works and gets a job but it is because of the burning love she has for the poor suffering husband and the spirit of cooperation that compels her to do so. 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. 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. 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. This and all other translations are mine. 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. (2002). Si Ka Amado, labor leader, konsehal, makata, manunulat. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. 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. Trivia (7) As Queen of Zarzuela, she starred in more than 50 zarzuelas. 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. Details Release date September 25, 1919 (Philippines) Country of origin Philippines 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. De la Ramas performances transformed the kundiman into a particularly potent musical and cultural symbol of Filipino identity. Following the Second World War, de la Rama continued to star in film and she hosted her own radio show in the 1950s.Footnote70 In the 1960s and 1970s, moreover, she contributed significantly to the restaging of prewar sarsuwelas and she availed herself freely as a resource for younger performers and theater companies. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public life. This double image of the Filipina is woven throughout de la Ramas other publicity photos. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. Her parents came from Negros Occidental. Atang de la Rama was born in Tondo Manila on January 11 1902. 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. She became the very first actress in the very first . 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!. De la Rama.Footnote2. 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. She was the producer and the writer of plays such as Anak ni Eva and Bulaklak ng Kabundukan. 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? 17 The recording I used for this analysis is a compact disc compilation entitled Kamuning: Re-mastered (Quezon City: Yesteryears Music Gallery, 2000). Whether Ilagan intended the double entendre or not, it is likely that de la Ramas rendition and continued performance of the song was the true source for the broken jug euphemism. Figure 4. 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. First, I explore specific examples of character types that de la Rama popularized on the sarsuwela stage, focusing on how her performances vividly recreated and brought to life fictional representations of the Filipina. 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. 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. Yet throughout her life, de la Rama also actively took part in civic organizing, particularly for womens causes. 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. al., Fashionable Filipinas, 141. 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. Standard historical accounts often point to Severino Reyess shift in his writing career to become a journalist and editor in the early 1920s as the beginning of sarsuwelas decline, just as vaudeville and film were becoming more popular in the Philippines. 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. 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. See Helen F. Samson-Lauterwald, Music in the Sarsuwelas of Severino Reyes (Lola Basyang) (Diliman, Quezon City: University of the Philippines Press, 2016). 11 Andrew N. Weintraub and Bart Barendregt, eds., Vamping the Stage: Female Voices of Asian Modernities (Honolulu: University of Hawaii Press, 2017), 2. Cultural Center of the Philippines. However, Angelita is forced by her parents to marry a wealthy loan shark, Don Silvestre, as they need money to pay for their gambling habit and other vices. Of all the many roles she played and stages on which she appeared, her performance in Dalagang Bukid remains her greatest and most memorable success.Footnote72 But a more comprehensive account of her creative and artistic breadth reveals an artist with a keen understanding of performance both on and off the stage. 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. 64 Clutario, The Appearance of Filipina Nationalism, 224.

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