Beyond the sarsuwela stage, de la Ramas work in vaudeville, film, and radio complicate perceptions of a Filipino culture wholly subject to the cultural logics of American colonialism. 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. Born January 11, 1905 Died July 11, 1991 (86) Add or change photo on IMDbPro Add to list Known for Dalagang bukid 7.2 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. In the program for the 1919 benefit production of Dalagang Bukid, de la Rama is pictured wearing a balintawak dress (see Figure 1). 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. De la Cruz also appeared in films and received a FAMAS Best Supporting Actress Award in 1953. 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. TRIVIA for the DAY: - Filipino Heritage Festival Inc. | Facebook [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. The light timbral quality and the open sound of her voice all aid in the clear articulation of the text. 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. 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. Facebook In this article, I trace de la Ramas creative authorship through analyses of her performances onstage and offstage, where the aural and visual aspects of her role as Filipina diva come together. 27 Clutario, The Appearance of Filipina Nationalism, 11011. Orphaned at an early age, she grew up under the care of an elder sister who was married to a zarzuela composer where she was constantly exposed to the zarzuela. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). 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? 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. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. Several commentators unabashedly praised the diva in the local press. 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. 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. Atang Dela Rama - IMDb 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. 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. 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. 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. 24 See Peter Keppy, Tales of the Southeast Asian Jazz Age: Filipinos, Indonesians and Popular Culture, 19201936 (Singapore: NUS Press, 2019); also Frederick J. Schenker, Empire of Syncopation: Music, Race, and Labor in Colonial Asias Jazz Age (PhD dissertation, University of Wisconsin, Madison, 2016). Ricardo Trimilloss essay in the collection, Enacting Modernity through Voice, Body, and Gender: Filipina Singers from the Close of the Philippine-American War to the Onset of Martial Law (1913-1972), 26180, in particular, traces how popular Filipina singers were instrumental in the creation of a Philippine modernity from 1913 to 1972. 5 Howick Place | London | SW1P 1WG. 6 See, for example, Patricia Marion Lopez, Imaging Women in the Zarzuela, Philippine Humanities Review: Sarsuwela 11, no. Lahat na lang ng di mapagkakakitaan, nasa kanya na. BIBINGKA by Honorata Atang de la Rama - YouTube 53 Lalake!!! Her performances on the sarsuwela stage refashioned stereotypical female characters. Honorata Rama-Hernandez (January 11, 1902 - Prabook She firmly believed . While playwrights and composers at the turn of the twentieth century used the term zarzuela for their Tagalog-language works, the term sarsuwela (alternatively spelled sarswela or sarsuela) did not come into use until the late 1910s and early 1920s and, by then, were often used interchangeably with opereta. In this essay, I follow scholars Nicanor Tiongson and Doreen Fernandez in their use of sarsuwela as a general term to mean works produced in any of the local languages in the Philippines, including Tagalog-language repertoire, from the early 1900s to the present. 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. 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. 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. 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. 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. 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. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. 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). 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. Atang de la Rama - Wikiwand 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. 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. 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. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. Atang Dela Rama - Other Works - IMDb Among the highlights of the production was the song performed by de la Rama, Awit ng Pagkahibang (Delirium Song) in the second act. The iconic image of de la Rama as dalagang bukid also likely inspired the well-known dalagang Filipina subject found in painter Fernando Amorsolos romantic-realist scenes of the idyllic countryside from the 1920s (see Figure 2), with its bandanna-clad young woman who bears some likeness to de la Ramas 1919 portrait. 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 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. 21 Tiongson, Atang de la Rama, 59; Fernandez, Zarzuela to Sarswela, 331. This essay focuses on the career of Honorata Atang de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Her distinctive voice, stage presence, and memorable portrayal of the country maiden inspired the creation of a new repertoire of Tagalog sarsuwelas and gave momentum to the lyrical stage, just as other types of entertainment like vaudeville and cinema were gaining popularity in the Philippines in the early 1920s. 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. (n.d.). See Gino Gonzales et. She frequently performed at rallies and events organized by various womens groups like Panitik Kababaihan (a womens literary society), Kaisahan ng Kababaihan sa Pilipinas (where she served as president), the Women Auxiliary of the Confederation of Labor Organization, and the Ladies Association in her hometown of Gagalangin, Tondo. De la Rama was a frequent performer in the Savoy Nifties, a prominent vaudeville act in Manila. Atang Dela Rama - Biography - IMDb theather. . 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!. 73 De la Rama penned several sarsuwela scripts including Dalagang Silanganan (Maid of the East), Diwata ng Ipugaw (Fairy of Ifugao), and Anak ni Eba (Daughter of Eve). 64 Clutario, The Appearance of Filipina Nationalism, 224. 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. 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. 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.
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