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23 Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin, Liwayway (March 10, 1980). This recording is most likely a digitized copy of rare 78s housed in the collection of Nestor Vera Cruz, owner of the Yesteryears Music Gallery in Quezon City, Philippines. 6 See, for example, Patricia Marion Lopez, Imaging Women in the Zarzuela, Philippine Humanities Review: Sarsuwela 11, no. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. 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. On September 4, 1915, a lengthy article on the foxtrot by American ballroom dancer Joan Sawyer appeared in the Manila weekly journal The Independent, complete with detailed instructions and suggestions for which music should accompany the dance.Footnote22 Incorporating a foxtrot in the sarsuwela also points to a standard practice of using globally circulating popular musics in sarsuwela scores. 43 Peter Keppy, Tales of the Southeast Asian Jazz Age, 80. Ignacio Manlapazs description of her in the Philippines Herald is illustrative: Atang de la Rama helps in the eradication of untoward behavior of theatergoers and that they may learn to respect the art of acting. De la Rama as dalagang bukid on the program cover for the December 7, 1919 benefit performance. 22 The article was derived from a booklet published by Columbia Gramophone Company with a letter written by Sawyer, dated November 23, 1914. Figure 4. 52 El Teatro Tagalo Emergera Como Un Nuevo Ave Fenix, La Opinion (March 16, 1938). Si Ka Amado, labor leader, konsehal, makata, manunulat. As Andrew N. Weintraub and Bart Barendregt have remarked, the ascendancy of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, and women as business entrepreneurs and independent income earners and as models for new lifestyles.Footnote11 De la Ramas performing career on the multiple stages of musical theater and popular entertainment in the Philippines richly illustrates this dynamic. Atang Dela Rama was born on January 11, 1905 in Manila, Philippines. 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. 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. 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]. 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. 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. Following her leading role debut in Dalagang Bukid, de la Rama had gained a reputation that quickly spread among the theater-going public of Manila. 53 Lalake!!! Atang de la Rama - Wikipedia Original text: Ay naku! 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. 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. These recordings showcase de la Ramas vocal prowess and range. 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 direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. The woman general, Heneral Emilia, is an unmistakable reference to Emilio Aguinaldo (18691964), a general during the Philippine Revolution against Spain and the first Filipino president. 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. 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. Cultural Center of the Philippines. Courtesy of Adlai Lara. Birth anniversary of National Artist Atang de la Rama 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 solo Nabasag ang Banga (The Clay Jar Broke) from the first act provides a description of Angelitas character. In the first line of the chorus, she prolongs the opening word halina (come hither), adding a subtle allure as she sings of a heart-stopping kiss and instructs her partner not to be timid in touching her. 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. 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. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. 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. 28 In Sesangs first entrance at the opening party scene, for example, the libretto instructs the actor to appear in a dress dcolletage (nakabestidong escotado). 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. She finds it impossible to keep on a balanced budget unless she helps her partner in lifethat is, she gets a job. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. 12 (2004): 75106, at 9798. She also made an effort to bring the kundiman and sarsuela to the indigenous peoples of the Philippine such as the Igorots, the Aetas, and the Mangyans. 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). 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). To them, the American characteristics deemed feminine were conflated with the modern woman: English-speaking, university-educated, a professional or a clubwoman active in civic work, and by the 1920s, a suffragist. [3] National Artist For Theater - The Philippines Today 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. Yet throughout her life, de la Rama also actively took part in civic organizing, particularly for womens causes. This was a practice employed by composers at the turn of the twentieth century who liberally used dance forms such as the waltz, habanera, tango, mazurka, and polka. 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. Atang de la Rama - Wikipilipinas 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. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. Atang dela Rama Born Honorata de la Rama January 11, 1905 Tondo, Manila, Philippine Islands Died July 11, 1991 (aged 86) Manila, Philippines Occupation Filipino singer and actress Years active 1919-1956 Spouse(s) Amado V. Hernandez Awards National Artist for Theater and Music 1987 Atang de la Rama was born in Tondo, Manila on January 11, 1905. De la Rama was a frequent performer in the Savoy Nifties, a prominent vaudeville act in Manila. In 1926, de la Rama performed with the Manila bandmaster Andres Baclig and his jazz band, the Manila Syncopators, in Honolulu.Footnote44 An account of de la Ramas travels abroad published in the Philippines Free Press highlighted the nationalist pride that such performances engendered and the critic reported at length about de la Ramas appearances as a goodwill mission of patriotic art.Footnote45 In the same 1926 tour, de la Rama made stops in Hong Kong and Yokohama, Japan prior to landing in Hawaii. Honorata "Atang" Dela Rama - Wikipilipinas [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. 3 (1993): 32043, at 331. See Helen F. Samson-Lauterwald, Music in the Sarsuwelas of Severino Reyes (Lola Basyang) (Diliman, Quezon City: University of the Philippines Press, 2016). As of this writing, there are 7 National Artist for Theater awardees. 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. 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. Anvil Publishing.2004. 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. al., Fashionable Filipinas, 141. 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. 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. 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). This juxtaposition of urban and rural highlighted the ideals of Filipino women being challenged by the corrupting influences of foreign liberal views, often embodied in the character of the bailarina who navigated the world of cabarets (kabaret in the Tagalog scripts) and dance halls in Manilas nightlife. On this Wikipedia the language links are at the top of the page across from the article title. In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 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. Details Release date September 25, 1919 (Philippines) Country of origin 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. Katy de la Cruz - Wikipedia 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. 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. 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. 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). The works of Severino Reyes (18611942), one of the foremost playwrights of the Tagalog sarsuwela, are exemplary. Ki a kundiman s zarzuela kirlynje? 38 Santiago, The Development of Music in the Philippine Islands, 516. Atang Dela Rama is a national artist for theater and music queen of kundiman. Atang de la Rama was born in Pandacan, Manila January 11, 1902 11 Andrew N. Weintraub and Bart Barendregt, eds., Vamping the Stage: Female Voices of Asian Modernities (Honolulu: University of Hawaii Press, 2017), 2. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). 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. NLP Digital Collection Nicanor Tiongson (Manila: Cultural Center of the Philippines, 2018). Atang de la Rama - Age, Birthday, Biography & Facts | HowOld.co The local vaudeville or bodabil stageas it was referred to in Tagalogprovided such a space for blurring the boundaries between traditional and modern, old and new. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. Atang de la Rama - geni family tree Cultural Center of the Philippines. 1/2 (1997): 12850, at 141. 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). 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. Ang Kiri is an example of a subset of sarsuwelas from this period that contrasted urban cosmopolitan Manila with the idyllic countryside. The bilingual (English and Spanish) magazine, edited by Filipino suffragist Trining Fernandez-Legarda, promoted itself as devoted to the best traditions of the Filipino home and the progress of the women in the Philippines. Although the magazine published many articles dedicated to family life and domesticity, it also included features and commentary that encouraged women to go out of the home in order to become better wives and mothers; moreover, its editorial board explicitly advocated for womens suffrage during the 1920s and 1930s.Footnote65 The (uncaptioned) cover photo links de la Rama with her iconic role by juxtaposing her headshot with a full profile of her as the dalagang bukid. Her cover photo is framed by texts that point to the magazines multiple strategies for advancing womens progress within the confines of homemaking as well as in seeking full participation in civic life. 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. At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. Atang Dela Rama on IMDb: Awards, nominations, and wins. 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. 50 Nick Deocampo, Film: American Influences on Philippine Cinema (Mandaluyong, Philippines: Anvil, 2017), 519. 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. Photographs of de la Rama aided her popularity locally and abroad and served as additional sites for her performance of Filipina femininity. This approach allows me to situate the sarsuwela stage as part of a growing industry that included vaudeville, early cinema, sound recording, and radio. She died six months after her birthday Rama passed away on July 11, 1991, which was exactly six months after her 89th birthday. Academics echoed similar critiques. The other women awardees largely belonged to performing arts categories. 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. 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]. BIBINGKA by Honorata Atang de la Rama - YouTube By the age of 7 she was already starring in Spanish zarzuelas such as Mascota Sueo de un Vals and Marina. By 1925, de la Cruz was the highest paid . Perhaps the most remarkable review comes from Maria Luisas author, Remigio Mat Castro, published in the Tagalog paper Pagkakaisa: If Maria Luisa is praised and enjoyed, I can only say that, as its author, I am indebted to Atang de la Rama, who is a true miracle in her role from the first act of the play until the end more so when she sang the song of madness Jesus One hears from all corners of the theater the audience crying and the mute sighs of their pent-up emotions.Footnote32. In her introduction to an essay collection on technology and the figure of the diva, musicologist Karen Henson remarks on how the diva is created when sopranos, audience members and one or more technologies come together. In this process, the visual replaces the aural and refutes the notion that the divas authenticity only resides in the pure power of the voice and vocal expression.Footnote55 De la Ramas celebrity photographs became a crucial medium in which her images circulated, creating a diverse set of audiences beyond those who witnessed her on the theatrical stage. Speech of President Corazon Aquino at the National Artist Award I regret I am not seen often enough attending cultural events. 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? Atang Dela Rama Angelita Mar I. Esmeralda Director Jose Nepomuceno Writers Leon Ignacio (story) Hermogenes Ilagan (story) All cast & crew Production, box office & more at IMDbPro Storyline Edit Did you know Trivia Considered as the first Filipino movie made. 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. 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). See also Fernandez, Palabas, 8889. 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. Menu. Early life . She was especially popular in Hawaii, home to a large population of Filipinos who had been recruited to work in the sugar cane plantations as early as 1906. 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. 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. 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. 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. 2 (2010): 35988, at 361. 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. 42 The brief biographical sketch included in the research guide to the Atang de la Rama Collection at the National Library of the Philippines mentions her premiering the iconic song in 1924 at a workers rally (http://nlpdl.nlp.gov.ph/NL02/NLPADGD40850fd/datejpg1.htm, 5). She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. 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. Movies. 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. She was married to National Artist for Literature, Amado V. Hernandez. Original text: Kung napupuri at kinagigiliwan ang Maria Luisa, ang masasabi ko, bilang awtor, ay utang kay Atang de la Rama na isang tunay na himala sa pagtupad ng kanyang papel simula sa unang bahagi ng dula at hanggang sa wakas lalo noong inaawit niya ang awit ng pagkahibang Hesus Naririnig sa lahat ng dako nang dulaan ang iyakan ng mga manonood at ang mga piping buntong -hininga ng damdaming nakukuyom sa kanilang mga puso.. 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. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). national hometown : pandacan artist manila award type of art : for theater and theater music and music tools and materials : (1987) music and films why is the artists' art artistic, distinctive, and of superior quality? Honorata "Atang" Marquez de la Rama-Hernandez. theather. In 1979, she was hailed as Queen of Kundiman, and in 1987, she was awarded as National Artist for Theater and Music. 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. 20 Remigio Mat Castro, Nabasag ang Banga? Wherever I go, in the course of my professional tours and engagements, I always wear my saya long and the sleeves of my camisa as ample as they should be like the gauzy wings of a butterfly, and it has never failed to elicit sighs of admiration among women of other countries I have visited. 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. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). 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. 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 .
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