The 1919 silent-film version of Dalagang Bukid, considered the first film largely produced and directed in the Philippines by Filipinos, capitalized on de la Ramas early success onstage as much as it propelled her career forward. 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. 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.
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. Original text: Ay naku!
TRIVIA for the DAY: - Filipino Heritage Festival Inc. | Facebook 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). 39 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. She navigated the theatrical stages of sarsuwela and bodabil fluidly, occasionally writing and producing shows herself. Ruth A. Solie (Berkeley: University of California Press, 1993), 22558. 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. Siya pa rin ang Atang de la Rama ng napabantog na Dalagang Bukid., 32 Remigio Mat Castro, Pagkakaisa (January 12, 1930). 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. 33 See also Matthew Wittman, Empire of Culture: U.S. In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. She soon became a solo headliner, performing in Manila's largest theaters such as the Savoy, the Palace, and the Lux.
Honorata Rama-Hernandez (January 11, 1902 - Prabook 68 Atang de la Rama: Sarsuwela Star, Philippine Panorama (August 28, 1983). Original text is in English.
WATCH: 8 Philippine National Artists for Theater - TheaterFansManila.com Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? Dalagang Bukid showcases familiar scenes and social practices of early twentieth-century Manila, such as the cabaret and gambling, a favorite pastime of Angelitas parents, whose constant losses indebted them to Don Silvestre. [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. No potential conflict of interest was reported by the author(s). Atang de la Rama was born in Tondo Manila on January 11 1902. By 1925, de la Cruz was the highest paid . For other contemporary academic critiques to jazz, see Keppy, Tales of Southeast Asias Jazz Age, 8283. 51 From Lacnico-Buenaventuras 1985 interview with de la Rama. Movies. 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. 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. 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. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. 2021 Felice P Sta Maria 2019 Danny E Dalena 2018 Opereta at Dula na ginampanan ni Atang sa 25 taon Personal Papers -- Certificates -- Awards Plays and Short Stories: Ang Aguinaldo ni Dante Plays and Short Stories: Ayaw sa Kapwa Artista Plays and Short Stories: Buod - Piso ni Anita Upon landing in a job she, however, either chooses to be financially independent of her husband (this usually happens when relations of husband and wife are [estranged]) or to remain a dependent of the husband.Footnote66. 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. Karen Henson (New York, NY: Cambridge University Press, 2016), 1123, at 20. theather. 19 Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no.
Honorata "ATANG" dela Rama - Philippine Artists,Traditions and Culture 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. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. 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. 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. (2002). At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". 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. Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. Cultural Center of the Philippines. Fernando Amorsolos Campesina (Peasant, 1927). 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. Robert Schofield, then Dean of the Conservatory of Music at the University of the Philippines, asserted in 1922 that jazz was a sickness in the music of the Philippines, much like in the United States, and posed a danger to Filipino musicality.Footnote36 Outlining his vision for national music, Filipino composer Francisco Santiago also criticized the cheap dance music flooding the local music scene and warned against native composers adoption of American airs [] old cakewalk, the noisy march of Sousa, and the deafening and somewhat distorted jazz.Footnote37 Yet, ironically, Santiago also praised sarsuwela composers such as Juan Hernandez, Nicanor Abelardo, and Francisco Buencamino, all of whom had utilized jazz idioms in their compositions.Footnote38, De la Ramas performances on the bodabil stage, however, point to the critical role of the emerging popular entertainment industry in the very creation of a Filipino musical identity. 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. 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un . This approach allows me to situate the sarsuwela stage as part of a growing industry that included vaudeville, early cinema, sound recording, and radio. Becks store sold radios and phonographs and was the distributor of Columbia records in Manila. One place to begin exploring the case for de la Ramas creative authorship is the characterizations of women that proliferated in Philippine literature and theater in the 1910s, leading up to de la Ramas Dalagang Bukid. 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. 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. This treaty ceded the Philippines (along with Puerto Rico and Guam) to the United States in the aftermath of the Spanish-American war. 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. Louise Edwards and Mina Roces (London; New York, NY: Taylor and Francis, 2004), 2458. Sarsuwela characters ran the gamut of stereotypes, from the virtuous and chaste Filipina, the perpetual dalagang bukid, to the manipulative flirt depicted as a product of rapid urban modernization. 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). 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. 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). 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]. Hence, it is in Atang de la Ramas performance, her creative authorship, that the sarsuwelas are made real. 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). Also, Renato Lucas, A Preliminary Annotation of Selected Discography by Filipino Artists, 19131946, Journal of the Arts, Culture, and the Humanities 3, no. Singing competitions such as the Jazz and Kundiman Championship were also quite popular during the 1920s and were instrumental in presenting the genre as Filipino in contradistinction to jazz. In these contests, Jazz Girls were pitted against Lady Kundimans, which featured Atang de la Rama and Maggie Calloway, a silent film star in the late 1920s.Footnote43 Composers of this period took a serious interest in creating kundimans precisely because of the very voices that opened up the genre to a wider audience and gave life to their compositions. This is significant when the use of fashion negotiated multiple aspects of Filipina femininity at a time when womens roles in the larger society were changing rapidly, and as de la Rama shaped her own professional career in the Philippines and abroad. Here, I use the term voice to mean two things: first, the distinctiveness of de la Ramas own voice, mediated through sound recordings and contemporary reviews, reinscribes the act of performance as a necessary locus of authorship traditionally reserved for (male) playwrights and composers. This double image of the Filipina is woven throughout de la Ramas other publicity photos. 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. 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. . Atang de la Rama Collection: Manuscripts Home: Contents; Personal Papers -- Amado V. Hernanadez . 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. For a fascinating study on commemoration, prestige, and nation-building in the National Artist Award in the Philippines, see Neal D. Matherne, Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award, (PhD dissertation, University of California, Riverside, 2014).
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