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). To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 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. Entertainers and the Making of the Pacific Circuit, 1850-1890, (PhD dissertation, University of Michigan, 2010), 1516. 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. During the latter part of her life she lived in Gagalangin, Tondo, birthplace of her husband, Amado V. Hernandez, himself a National Artist, whom she married in 1932. An article from 1932 in Manilas Spanish-language newspaper La Vanguardia, for example, announced the decline of the sarsuwela due to the profane and good for nothing vaudeville.Footnote35 Such commentaries underline the debates between high and low art that preoccupied composers and intellectuals of the period, and express their anxieties about American influence. Honorata "Atang" Marquez de la Rama-Hernandez. No potential conflict of interest was reported by the author(s). Angelitas parents plan to marry her off to the much older and wealthy loan shark Don Silvestre. 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. 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. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. As of this writing, there are 7 National Artist for Theater awardees. Her parents came from Negros Occidental. 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. 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). 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. 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. Born January 11, 1905 Died July 11, 1991 (86) Add or change photo on IMDbPro Add to list Known for Dalagang bukid 7.2 She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. De la Ramas dual image of the traditional Filipina and the cosmopolitan professional artist strikingly parallels these multiple strategies, and her inclusion in the publication highlights how her rising status as an international celebrity lent particular potency to the idea of feminine progress in the Philippines. For a detailed account of the different theater venues that staged Spanish and Tagalog repertoire throughout the nineteenth and early twentieth centuries, see Cristina Lacnico-Buenaventura, The Theater in Manila, 1846-1946 (Manila: De La Salle University Press, 1994). The patriotic anthem Bayan Ko (My Country), perhaps the most famous and enduring kundiman in Philippine music history, was also popularized by de la Rama.Footnote42 Yet standard accounts ignore the critical role she played, instead tracing the development of the kundiman from its origins in a handful of songs created during the Revolutionary period at the turn of the twentieth century to the art songs of the conservatory composers.
Atang de la Rama - Wikiwand So far, only one award for literature has been granted, Edith Tiempo (1999), and none for visual arts and film. Such bodabil performances not only complicate de la Ramas image as the virtuous dalagang bukid but they also illustrate the overlapping networks of different popular entertainment circuits in the Philippines in the 1920s and 1930s. 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. By 1925, de la Cruz was the highest paid . 21 Tiongson, Atang de la Rama, 59; Fernandez, Zarzuela to Sarswela, 331. She died six months after her birthday Rama passed away on July 11, 1991, which was exactly six months after her 89th birthday. De la Rama was a force to be reckoned with, and hers was an indefatigable presence that persisted in the distinct (but still loosely connected) networks of the sarsuwela stage, vaudeville, film, and radio. 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. 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds.
HONORATA "ATANG" DE LA RAMA (1902-1991) National Artist 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. This and all other translations are mine. Pontszm: 5/5 ( 34 szavazat) "Nem ktsges, Honorata "Atang" de la Rama, zarzuela s kundiman kirlynje nemcsak neklsvel gazdagtotta a filippn nemzetet, hanem szavaival is: s most, 70 vvel azutn, hogy megnyerte els nekversenyt tves korban Sylvia La Torre tovbbra is a Flp-szigetek Kundiman kirlynjeknt uralkodik. 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). De la Rama on the front cover of The Womans Outlook (July 1926 Issue). 51 From Lacnico-Buenaventuras 1985 interview with de la Rama. 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. 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. performing alongside other leading stage performers such as Atang de la Rama. 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. For other contemporary academic critiques to jazz, see Keppy, Tales of Southeast Asias Jazz Age, 8283. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). 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. 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.
Speech of President Corazon Aquino at the National Artist Award In Sesangs Act II solo Ang Masayang Dalaga (The Coquette),Footnote29 for instance, she plays the seductress who confidently lures her admirer to an intimate dance. 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. Also, Renato Lucas, A Preliminary Annotation of Selected Discography by Filipino Artists, 19131946, Journal of the Arts, Culture, and the Humanities 3, no. al., Fashionable Filipinas, 141. Postwar productions changed the title to Ang Masayang Dalaga (The Happy Maiden), which reflects a subtler variation of the dalagang haliparot type. 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. 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. 46 Ibid. Castros remarks on the artists rendition of Awit ng Pagkahibang and the reactions it elicited from the audience drives home the centrality of performance in the conception of a musical and theatrical work. Besides here, his angelic voice also came .
BIBINGKA by Honorata Atang de la Rama - YouTube Karen Henson (New York, NY: Cambridge University Press, 2016), 1123, at 20. 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. Such critiques and social commentary also projected gendered prescriptions of the ideal Filipina as demure and virtuous, the dalagang Filipina, a recurring trope in Philippine literature and culture that persists to this day. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. Confident in her languid disregard for the composers melody, she renders a playful, flirtatious version of the song. 18 Tiongson similarly underlines de la Ramas flirtatious performance as he reconstructs the artists rendition of Nabasag ang Banga. See Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin (Pasay City, Philippines: Cultural Center of the Philippines, 1987), 19. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. theather. See Motoe Terami-Wada, Philippine Stage Performances During the Japanese Occupation, Philippine Studies 29, no. 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.
Theather | PDF | Philippines | Theatre - Scribd Honorata Rama-Hernandez (January 11, 1902 - Prabook This position ironically came from the male politicians advocating for independence. Academics echoed similar critiques.
National Artist For Theater - The Philippines Today 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.
MUSIC please help me() 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. 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. Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. 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. 27 Clutario, The Appearance of Filipina Nationalism, 11011. 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. The striking cabaret scenes portray glimpses of the leisurely life of young, middle-class men and of bailarinas. Atang dela Rama was a graduate of BS Pharmacy in 1922. Atang de la Ramas singular voice, heard on the multiple stages of popular entertainment, asserts its own kind of authorship that challenges the common conception that creativity is the exclusive domain of the playwright or composer. No recording of this song has so far materialized, but reviews of the sarsuwela underline the effectiveness of de la Ramas performance.