atang dela rama awards

45 El Poder del Kundiman, Philippines Free Press (August 21, 1926). 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. 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. Throughout the sarsuwela, the urbanization of Manila and its perceived vices are placed in subtle contrast against the idyllic image of the countryside represented through the character of Angelita. Si Adan sa Paraiso (Man!!! The solo Nabasag ang Banga (The Clay Jar Broke) from the first act provides a description of Angelitas character. 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. 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. Movies. These recordings showcase de la Ramas vocal prowess and range. Ruth A. Solie (Berkeley: University of California Press, 1993), 22558. Queen of the Kundiman and. and National Commission for Culture and the Arts. 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. That was why Atang de la Ramas pocket was always empty [Emphasis in the original].Footnote68. In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. Karen Henson (New York, NY: Cambridge University Press, 2016), 1123, at 20. As a form of denouement, a woman revolutionary general successfully overthrows the government and then promptly declines to take office; instead she urges her fellow women to go back to their true duties: rebuilding the home and the Filipino population.Footnote14 This reactionary narrative echoes musicologist Susan Thomass description of Cuban zarzuelas anti-feminist but pro-feminine plots in which playwrights relied on their female protagonists and the artistry of the female voice while continuing to uphold a peculiar set of social, political, and economic conditions which hinged on the role and behavior of women in Cuban society.Footnote15 As Filipino playwrights sought to create a world that mirrored the dramas of middle-class domestic life and the patriarchal social order of early-twentieth century Manila, the roles de la Rama performed reveal an intentional revision of gendered identities that rebelled against traditional expectations of womens behavior. 38 Santiago, The Development of Music in the Philippine Islands, 516. 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). 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. Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. I regret I am not seen often enough attending cultural events. 2021 Felice P Sta Maria 2019 Danny E Dalena 2018 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds. Finding that his daughter has become pregnant out of wedlock, Justo inflicts the cruelest of punishments: he gives away her newborn daughter. Nicanor G. Tiongson. 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. 46 Ibid. 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. Atang de la Rama - Age, Birthday, Biography & Facts | HowOld.co The centennial of local movies is celebrated this year, 2019.. De la Ramas performances transformed the kundiman into a particularly potent musical and cultural symbol of Filipino identity. Early life . 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. 6 See, for example, Patricia Marion Lopez, Imaging Women in the Zarzuela, Philippine Humanities Review: Sarsuwela 11, no. Kung umaawit siya sa tanghalan ay laging minamataan niya ang mga gumagambala sa kanyang pag-awit, at sa sandaling makatapos ay nananaog siya sa ibaba at binabayaran ng mariing sampal sa mukha ang sinumang bumastos sa kanya. National Artist For Theater - The Philippines Today She firmly believed . Trivia (7) As Queen of Zarzuela, she starred in more than 50 zarzuelas. Her performances on the sarsuwela stage refashioned stereotypical female characters. 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. 44 Schenker, Empire of Syncopation, 419. 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. Their repartee turns into de la Rama singing about the method of cooking the rice cake with fire below and on top and how her bibingka is much sought after for its extra stickiness and its full toppings of egg and cheese. 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. 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). Academics echoed similar critiques. They are. 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. 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. 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. Literature on the history of Philippine music and the performing arts often cites the transformation of the kundiman from a type of folk song and dance into an important art song genre through the hands of composers like Bonifacio Abdon and conservatory-trained composers Francisco Santiago and Nicanor Abelardo in the late 1910s and early 1920s. De la Ramas voice resonates through the writers own recollection as it vividly creates the experience of the sarsuwela for its audience. 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. Cultural Center of the Philippines. Katy de la Cruz - Wikipedia 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. 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. 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. 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. 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. 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? She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). Registered in England & Wales No. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. 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. She was also at the forefront of introducing Filipino culture to foreign audiences. Honorata "Atang" Marquez de la Rama-Hernandez. 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. Placing the performer and her creative labor front and center, I aim to contribute to the larger conversation surrounding the female voice as authorial and the performance as text. The second in the list is Punyal ni Rosa with 366 performances. Atang Dela Rama is a national artist for theater and music queen of kundiman. Through sarsuwela librettos and scores, rare sound recordings, reviews, publicity photos, and de la Ramas writings, I amplify her musical and metaphorical voice to address the critical role of women in the production of sarsuwelas and popular culture in the Philippines. 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. 50 Nick Deocampo, Film: American Influences on Philippine Cinema (Mandaluyong, Philippines: Anvil, 2017), 519. 65 Roces, Is the Suffragist an American Colonial Construct, 37. 33 See also Matthew Wittman, Empire of Culture: U.S. This position ironically came from the male politicians advocating for independence. 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. 2 (2010): 14986. 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. 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. 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. In 1987 she was inducted into the pantheon of National Artists in the Philippines, the highest award for arts and culture given by the national government. 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. 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". 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. Nicanor Tiongson (Manila: Cultural Center of the Philippines, 2018). [3] 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. 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). 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. 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). Atang de la Rama. performing alongside other leading stage performers such as Atang de la Rama. 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. Atang became the very first actress in the very first Tagalog film when she essayed the same role in the sarsuela's film version. De la Ramas next lead role was in Ang Kiri (The Coquette, 1926), which mirrored the 1920s urbanizing city where the character of the Filipino working girl emerged. HONORATA "ATANG" DE LA RAMA (1902-1991) National Artist So far, only one award for literature has been granted, Edith Tiempo (1999), and none for visual arts and film. 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. 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. 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. 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. Courtesy of Adlai Lara. Similarly, de la Rama remains a crucial figure in the early history of cinema in the Philippines, even as she herself was starting out on the sarsuwela 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. 3 (1993): 32043; and Nicanor Tiongson, A Short History of the Philippine Sarsuwela (1879-2009), Philippine Humanities Review: Sarsuwela 11, no. 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. Ang Kiri is an example of a subset of sarsuwelas from this period that contrasted urban cosmopolitan Manila with the idyllic countryside. 27 Clutario, The Appearance of Filipina Nationalism, 11011. The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. 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. Scholars have rightly commented on how the sarsuwelas preserved the largely patriarchal social order of early twentieth-century Manila, even as the theatrical stage critiqued colonial powers.Footnote6 Yet to understand the sarsuwela as a purely representational form at the expense of its musical and performative aspects is to neglect the larger stakes of its world-making and the multiple possibilities of meaning it conveys. Creative Authorship and the Filipina Diva Atang de la Rama 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 . No recording of this song has so far materialized, but reviews of the sarsuwela underline the effectiveness of de la Ramas performance. Honorata "ATANG" dela Rama - Philippine Artists,Traditions and Culture 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. By the 1920s and throughout the 1930s, the influx of American popular music (often collectively referred to by contemporary artists and critics as jazz) resulted in foxtrots, blues, Charleston (spelled tsarleston in the scripts), and, later on, the Hawaii an hula being incorporated into the sarsuwela repertoire. 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.. 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). She died on July 11, 1991 in the Philippines. The sartorial imagery of the dalagang bukid became a standard for young women who had their portraits taken in the 1920s and 1930s, wearing balintawak with pastoral backgrounds and using props such as a banga or clay jug and baskets of flowers or produce. As Nabasag ang Banga progresses, however, the playfulness she adds to her interpretation slowly complicates the image of the meek and virginal Filipina. Atang de la Rama was born in Tondo Manila on January 11 1902. Atang dela Rama is billed 'The First Star of Philippine Cinema' as she portrayed the title role in Dalagang Bukid in 1919. Siya pa rin ang Atang de la Rama ng napabantog na Dalagang Bukid., 32 Remigio Mat Castro, Pagkakaisa (January 12, 1930). Permission is granted subject to the terms of the License under which the work was published. Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. National Artist of the Philippines - Wikipedia 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. She died six months after her birthday Rama passed away on July 11, 1991, which was exactly six months after her 89th birthday. Atang Dela Rama - IMDb TRIVIA for the DAY: - Filipino Heritage Festival Inc. | Facebook At the height of her career, she sang kundimans and other Filipino songs in concerts in such cities as Hawaii, San Francisco, Los Angeles, New York City, Hong Kong, Shanghai, and Tokyo. 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. 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. 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. Original text is in English. Her real . Atang Dela Rama was born on 11 January 1905 in Manila, Philippines. In 1979, she was hailed as Queen of Kundiman, and in 1987, she was awarded as National Artist for Theater and Music. Details Release date September 25, 1919 (Philippines) Country of origin Philippines See also Fernandez, Palabas, 8889. For more on the history of the womens movement in the Philippines, see Belinda A. Aquino, Filipino Women and Political Engagement, in More Pinay than We Admit (Quezon City: Vibal Foundation, 2010), 1738. 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. NLP Digital Collection 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. She finds it impossible to keep on a balanced budget unless she helps her partner in lifethat is, she gets a job. 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. Honorata "Atang" Dela Rama - Provincial Government of Bulacan 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. 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. Atang became the very first actress in the very first locally produced Filipino film when she essayed the same role in the sarsuela's film version.

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