atang dela rama awards atang dela rama awards

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. Permission will be required if your reuse is not covered by the terms of the License. As of this writing, there are 7 National Artist for Theater awardees. 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. Registered in England & Wales No. Movies. It is good that I am broad-minded and I knew that he helped the poor and the workers. This later version of the balintawak developed strong associations with the rural countryside such as the town of Antipolo where the more affluent Manileos would visit for summer jaunts and picnics.Footnote57, Figure 1. I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. 54 Ignacio Manlapaz, Philippines Herald (April 1934). 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 was a graduate of BS Pharmacy in 1922. 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). 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. Confident in her languid disregard for the composers melody, she renders a playful, flirtatious version of the song. Atang Dela Rama was born on 11 January 1905 in Manila, Philippines. Permission is granted subject to the terms of the License under which the work was published. Her vocal technique and theatricality not only made her especially well-suited for the genre but also created the kundimans distinctive sentimentality and now-standard performative nuances. 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. Tamang sagot sa tanong: MUSIC please help me() - studystoph.com In the drama, Angelita is often referred to as gentle and ladylike; she carries an aura of virtue and innocence about her as she sells flowers in Manilas unsavory cabaret districts.Footnote16. Of the 73 honorees since the awards reception in 1972, de la Rama is among only 11 women.Footnote71 Even in these later decades of her life, de la Rama presented herself in her trademark terno, a picture of grace with a little bit of spunk, not unlike her debut character half a century ago. 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. Queen of the Kundiman and. 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. 67 Jun Cruz Reyes, Ka Amado (Diliman, Quezon City: University of the Philippines Press, 2012), 15354, 25657. [1] Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 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. 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. De la Rama dancing to the foxtrot points to the popularity of the dance genre in the Philippines around the same time as the sarsuwelas premiere. occupation of the Philippines, Atang de la Wrote short stories in Tagalog Prima Donna of Filipino. 21 Tiongson, Atang de la Rama, 59; Fernandez, Zarzuela to Sarswela, 331. I use the feminine form Filipina to mean Filipino women and, more specifically, the work of de la Rama in relation to the history of cultural nationalism in the Philippines. 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 fame as the Queen of Kundiman spread beyond Manila as she embarked on several extended tours abroad in 1926, 1932, and 1936. Besides here, his angelic voice also came . 3 (1993): 32043, at 331. 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. Perhaps it is only theater royalty who could get away with schooling their public. 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. Wilfredo Ma. Along with other major colonial ports such as Hong Kong, Batavia, and Singapore, Manila became part of a broader theatrical circuit of traveling opera companies, circuses, and minstrel shows in the Pacific region.Footnote33 At the turn of the twentieth century, variety shows were staged in different contexts including performances by American soldiers as part of their military entertainment as well as productions by traveling companies that catered to the general public.Footnote34, By the 1920s and 1930s, bodabil featured a mix of song, dance, and theatrical sketch performances by foreign-born and Filipino artists alike. In addition to the sarsuwela and bodabil stages, de la Rama commanded an audience via emerging new media such as audio recordings, radio, and film. Atang de la Rama was born in Tondo Manila on January 11 1902. The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public life. 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. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. By the late 1910s and early 1920s, sarsuwela repertoire mirrored anxieties around the urbanization of Manila in striking contrast to the idyllic rural countryside. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. 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. De la Ramas Angelita sheds the image of the delicate country girl who, as the common Tagalog idiom implies, cannot break a plate (di makabasag pinggan). Original text: Ay naku! But how can you remain relaxed at home on that night, knowing that Atang celebrates her gala of honor? At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". 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. 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. For more information please visit our Permissions help page. This treaty ceded the Philippines (along with Puerto Rico and Guam) to the United States in the aftermath of the Spanish-American war. In the final repetition of the songs chorus, de la Rama plays out affective vocal nuances with the pronounced slowness of her delivery. 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. She was married to National Artist for Literature, Amado V. Hernandez. 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. 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). 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). Photographs of de la Rama aided her popularity locally and abroad and served as additional sites for her performance of Filipina femininity. 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 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. 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). 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. 71 De la Rama was awarded the National Artist Award for theater and music. See Tiongson, Atang de la Rama, 31. As such, her work serves as a critical example of an artists rewriting of gendered identities embedded in the text and music. 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!. She finds it impossible to keep on a balanced budget unless she helps her partner in lifethat is, she gets a job. 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. "Atang" de la Rama was born in Pandacan, Manila on January 11, 1902. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". She died six months after her birthday Rama passed away on July 11, 1991, which was exactly six months after her 89th birthday. 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. Recent musicological scholarship on women and performance in Southeast Asia carefully examines the conditions of colonialism in the region that compelled female performers to embrace creative ways to combine foreign musical elements with their vernacular. 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. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). 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. 20 Remigio Mat Castro, Nabasag ang Banga? We use cookies to improve your website experience. The manuscript piano-vocal score and libretto of Dalagang Bukid is located in the Manlapaz Collection of the Pardo de Tavera Library and Special Collections at the Ateneo de Manila University (PL5548.3.I54 D3). 17 The recording I used for this analysis is a compact disc compilation entitled Kamuning: Re-mastered (Quezon City: Yesteryears Music Gallery, 2000). Finding that his daughter has become pregnant out of wedlock, Justo inflicts the cruelest of punishments: he gives away her newborn daughter. [2], Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 10 Clutario, The Appearance of Filipina Nationalism, 2. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 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. Figure 4. Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. She died on 11 July 1991 in the 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. 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). [4], Generations of Filipino artists and audiences consider Atang de la Rama's vocal and acting talents as responsible for much of the success of original Filipino sarsuelas like Dalagang Bukid, and dramas like Veronidia. As the above quote suggests, her ability to connect with her audience went beyond her characterization of the bashful country maiden, and had, in a short span of time, allowed for a playful familiarity with her growing fan base. They are. 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. 64 Clutario, The Appearance of Filipina Nationalism, 224. 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. On this Wikipedia the language links are at the top of the page across from the article title. Angelita and Cipriano are the main protagonists in the sarsuwela. She died on July 11, 1991 in the Philippines. 2. Also, Renato Lucas, A Preliminary Annotation of Selected Discography by Filipino Artists, 19131946, Journal of the Arts, Culture, and the Humanities 3, no. De la Rama died on July 11, 1991. 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. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. She was widowed in 1970 In 1970, at the age of 68, her husband, Amado V. Hernandez, passed away. 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. 2 (2010): 35988, at 361. Born in Pandacan, Manila on January 11, 1905, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina by the age of five. In many of her publicity photos, she wears the Filipino dress typically worn by middle- and upper-class women, the traje de mestiza (see Figure 3). 27 Clutario, The Appearance of Filipina Nationalism, 11011. 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. Atang de la Rama. 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. De la Rama as dalagang bukid on the program cover for the December 7, 1919 benefit performance. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. In the program for the 1919 benefit production of Dalagang Bukid, de la Rama is pictured wearing a balintawak dress (see Figure 1). Copies of her comedy sketches includes a short skit entitled Lalake!!! 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). 58 Roces, Is the Suffragist an American Colonial Construct, 3233. PHILCLASSIC CHANNEL 7.74K subscribers Honorata "Atang" Dela Rama (1905-1991) National Artist for Theater and Music (1987) Honorata "Atang" Dela Rama was formally honored as the Queen of. But de la Ramas success in Dalagang Bukid ushered in a renewal of the lyrical stage with works by other emerging playwrights such as Precioso Palmas Paglipas ng Dilim (After the Darkness, 1920), Julian Cruz Balmacedas Sa Bunganga ng Pating (In the Sharks Jaws, 1921), and Servando de los Angeless Alamat ng Nayon (Legend of the Town, 1925). 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. (2002). 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. 46 Ibid. [4] She has also been a theatrical producer, writer and talent manager. Becks store sold radios and phonographs and was the distributor of Columbia records in Manila. 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. 11 Andrew N. Weintraub and Bart Barendregt, eds., Vamping the Stage: Female Voices of Asian Modernities (Honolulu: University of Hawaii Press, 2017), 2.