Born January 11, 1905 Died July 11, 1991 (86) Add or change photo on IMDbPro Add to list Known for Dalagang bukid 7.2 The centennial of local movies is celebrated this year, 2019.. 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. Siya pa rin ang Atang de la Rama ng napabantog na Dalagang Bukid., 32 Remigio Mat Castro, Pagkakaisa (January 12, 1930). 3099067 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. 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. 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. Atang dela Rama: 'The First Star of Philippine Cinema' - Philstar.com Hence, it is in Atang de la Ramas performance, her creative authorship, that the sarsuwelas are made real. 14 From the typescript of the play Tatlong Babae: Ang Babae Bukas, act 3, p. 9, Severino Reyes Collection, Cultural Center of the Philippines Library and Archives, Pasay City, Philippines. We use cookies to improve your website experience. Menu. Details Release date September 25, 1919 (Philippines) Country of origin Philippines 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). She was named a national artist of the Philippines in 1987, at the age of 85. 53 Lalake!!! 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. 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. 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. It came to represent idealized images of Filipina femininity found in the sarsuwelas.Footnote56 This photo invites further reading on how de la Ramas own image carries a powerful influence separate from that created for her by the sarsuwelas authors. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. TRIVIA for the DAY: - Filipino Heritage Festival Inc. | Facebook De la Rama as dalagang bukid on the program cover for the December 7, 1919 benefit performance. Fernando Amorsolos Campesina (Peasant, 1927). 70 Her postwar film credits include Batong Buhay (1950), Salome (1952), Siga, Siga (1953), Rigiding (1954), Ang Buhay at Pag-ibig ni Dr. Jose Rizal (1955). Atang de la Rama was born in Pandacan, Manila January 11, 1902 Reflecting on the domestic and economic concerns of the working woman, she commented: It is not for selfish motives that a Filipino woman works and gets a job but it is because of the burning love she has for the poor suffering husband and the spirit of cooperation that compels her to do so. 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. Atang de la Rama. Atang became the very first actress in the very first Tagalog film when she essayed the same role in the sarsuela's film version. 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). national hometown : pandacan artist manila award type of art : for theater and theater music and music tools and materials : (1987) music and films why is the artists' art artistic, distinctive, and of superior quality? Atang de la Rama : definition of Atang de la Rama and synonyms of Atang 58 Roces, Is the Suffragist an American Colonial Construct, 3233. Atang de La Rama | PDF | Philippines - Scribd On December 7, 1919, the Compaa Ilagan staged the Tagalog sarsuwelaFootnote1 Dalagang Bukid (Country Maiden) for the benefit of its star artist, Honorata Atang de la Rama (19021991), whose public entreaty can be found in the productions playbill: Beloved public: your dalagang bukid gives her benefit Sunday night If you come to see me I will cry with joy and delight; but if you do not honor me with your presence, I will truly mourn, much like how Angelita cries when she is disappointed with her beloved Cipriano. Theather | PDF | Philippines | Theatre - Scribd Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. 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). 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. 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. Guerrero. 1 Notes on terminology: I use Tagalog primarily to mean the language, while I use Filipino as descriptor for the people and Philippine culture more broadly. 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. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. NLP Digital Collection 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds. 34 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Quezon City: Ateneo de Manila University Press, 1996), 88. 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. [2], Atang de la Rama was born in Pandacan, Manila on January 11, 1902. Remembering The Philippines Biggest Star: Atang De La Rama In Deocampos words, this decision would ensure patronage for this novelty entertainment that, in the early years of moving pictures, could hardly compete with the immense popularity of theatrical shows.Footnote50 Indeed, it was not only the presence of de la Rama on film that generated new audiences for the medium. 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. 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. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. In the closing verse, de la Rama performs with more urgency as the text describes the dance floor as a heaven where the bailarina sings of her dreams. 72 A typescript account found at the Atang de la Rama Collection listing her appearance in sarsuwela performances puts Dalagang Bukid at the top with a total of 724 performances. These clothes contrasted notably with the Western-style dress worn by women who pursued higher education and those who were visible in professional spaces traditionally occupied by men. 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. 65 Roces, Is the Suffragist an American Colonial Construct, 37. The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. 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. Honorata de la Rama Hernandez, popularly known as Atang de la Rama, a singer and performer is the first star of the Philippine Cinema. She is still the Atang de la Rama of the popular Dalagang Bukid.Footnote31 Vera Reyess observations reveal how, after nearly a decade, de la Ramas reputation and early success in Dalagang Bukid remained fresh with theater goers in Manila, even as de la Rama had moved on to portray other characters, and after she had become popular in the thriving vaudeville stages of Manila in the mid1920s. De la Rama.Footnote2. al., Fashionable Filipinas, 141. 19 Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. TRIVIA for the DAY: National Artist for Theater and Music (1987) Honorata "Atang" Dela Rama was formally honored as the Queen of Kundiman in 1979. Although this pairing was at times fraught with rumors of domestic quarrels, de la Rama and Hernandez remained together, even after Hernandez was imprisoned for six years in the 1950s on charges of rebellion and associations with the communist movement.Footnote67 In one of her more candid postwar interviews, de la Rama spoke of how she supported the social causes that her husband championed: Oh, Ka Amado was a labor leader, councilor, poet, writer. 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. 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. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". 20 Remigio Mat Castro, Nabasag ang Banga? 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]. 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. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. 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. 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. De la Rama was a frequent performer in the Savoy Nifties, a prominent vaudeville act in Manila. On this Wikipedia the language links are at the top of the page across from the article title. While de la Rama is famously associated with her role as the demure dalagang bukid, I call attention to how her versatility as an actor and her dynamic voice allowed for a more nuanced performance that pushed against flat representations of the shy and modest Filipina. 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. She often looks out for those who distract her when she sings in the theater, and the moment she finishes, she goes down the stage and slaps whoever heckles her many times over. Angelita and Cipriano are the main protagonists in the sarsuwela. 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. 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. 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. 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. 22 The article was derived from a booklet published by Columbia Gramophone Company with a letter written by Sawyer, dated November 23, 1914. (n.d.). The woman general, Heneral Emilia, is an unmistakable reference to Emilio Aguinaldo (18691964), a general during the Philippine Revolution against Spain and the first Filipino president. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. She navigated the theatrical stages of sarsuwela and bodabil fluidly, occasionally writing and producing shows herself. HONORATA "ATANG" DE LA RAMA (1902-1991) National Artist Clutario notes how the Tagalog word kiri had become synonymous with the flapper, one of the dominant symbols of Filipina modernity in the late 1920s.Footnote27 This particular strain of Filipina modernity corresponds to the ways in which new fashion and beauty regimens became strongly tied to perceptions and subsequent depictions of the babae ngayon (woman of today), sexually liberated in stark contrast to the ideal Filipina. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. Atang Dela Rama - Biography - IMDb That was why Atang de la Ramas pocket was always empty [Emphasis in the original].Footnote68. TV Shows. Claiming to reproduce first-hand impressions from a letter by de la Rama, the Philippine Free Press article mentioned that she met, among others, Artemio Ricarte, a popular Filipino general during the 1896 Revolution against Spain and the Philippine-American War, who was living in exile in Japan for his role in the fight for Philippine independence. 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. 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. See also Fernandez, Palabas, 8889. No potential conflict of interest was reported by the author(s). By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina.At the age of 15, she starred in the . 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? I would also like to thank Journal of Musicological Research editor Hilary Poriss and the journals anonymous reviewers for their invaluable feedback. 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. Atang dela Rama is billed 'The First Star of Philippine Cinema' as she portrayed the title role in Dalagang Bukid in 1919. She fought for the advancement of the art for everyone so she brought the kundiman and sarsuela not only in big theaters in Manila but also in cockpit arena and plazas in the provinces and in the distant places of the natives. The characteristic bitin or prolonged delivery of cadential phrase endings mentioned earlier, for example, echo vocal techniques heard in de la Ramas own recordings. The light timbral quality and the open sound of her voice all aid in the clear articulation of the text. Such self-fashioning carried political significance, especially during the resurgence of nationalism and in the emerging womens movement during the 1920s and 1930s in the Philippines. 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. 51 From Lacnico-Buenaventuras 1985 interview with de la Rama. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". "Atang" de la Rama was born in Pandacan, Manila on January 11, 1902. As Jun Cruz Reyes has suggested, it is possible that Hernandez became more politically active because of de la Rama, not the other way around.Footnote69 Such a commentary points to the generative work done by women like de la Rama that often remain unacknowledged in histories of Philippine culture. 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. For more on the history of the U.S. empire the Philippines, see Paul Kramer, Blood of Government: Race, Empire, the United States, and the Philippines (Chapel Hill: University of North Carolina Press, 2006). 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. 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. Birth anniversary of National Artist Atang de la Rama It is good that I am broad-minded and I knew that he helped the poor and the workers. She finds it impossible to keep on a balanced budget unless she helps her partner in lifethat is, she gets a job. Courtesy of Adlai Lara. 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. I would like to thank the many wonderful mentors and peers who took the time to read and comment on earlier versions of this work. However, Angelita is forced by her parents to marry a wealthy loan shark, Don Silvestre, as they need money to pay for their gambling habit and other vices. 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. Copies of her comedy sketches includes a short skit entitled Lalake!!! These recordings showcase de la Ramas vocal prowess and range. Who Is Atang Dela Rama? - The Philippines Today

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