atang dela rama awards

Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. 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. Anvil Publishing.2004. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). 68 Atang de la Rama: Sarsuwela Star, Philippine Panorama (August 28, 1983). During the American. 16 In his first solo, Romansa, Cipriano refers to Angelita as his banal na Birhen (holy Virgin [Mary]). 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. Atang Dela Rama - IMDb 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. Original text is in English. Also formally recognized as a National Artists for Theater and Music by Former President Corazon Aquino for Honorita's love . After de la Ramas debut in Dalagang Bukid, she performed in a succession of works that revitalized the lackluster Tagalog sarsuwela scene in Manila, which had experienced a downturn in the 1910s. 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. 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. 4 Over three hundred years of Spanish colonial occupation in the Philippines ended with the Philippine Revolution (1896-1898) and the Treaty of Paris of 1898. TV Shows. First, I explore specific examples of character types that de la Rama popularized on the sarsuwela stage, focusing on how her performances vividly recreated and brought to life fictional representations of the Filipina. Such critiques and social commentary also projected gendered prescriptions of the ideal Filipina as demure and virtuous, the dalagang Filipina, a recurring trope in Philippine literature and culture that persists to this day. 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. 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. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". She soon became a solo headliner, performing in Manila's largest theaters such as the Savoy, the Palace, and the Lux. By the age of 7 she was already starring in Spanish zarzuelas such as Mascota Sueo de un Vals and Marina. 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. 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.. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. This position ironically came from the male politicians advocating for independence. 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. Karen Henson (New York, NY: Cambridge University Press, 2016), 1123, at 20. These concerns may have been reflecting the dynamics of De la Ramas own marriage to the poet and labor leader Amado Hernandez. 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. 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. 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". 2 The original text is in Spanish. Trivia (7) As Queen of Zarzuela, she starred in more than 50 zarzuelas. 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). This CD is found in several audio collections in the United States including those in the Mills Music Library at the University of Wisconsin-Madison and the Library of Congress Recorded Sound Research Center. 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. 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. 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. Pontszm: 5/5 ( 34 szavazat) "Nem ktsges, Honorata "Atang" de la Rama, zarzuela s kundiman kirlynje nemcsak neklsvel gazdagtotta a filippn nemzetet, hanem szavaival is: s most, 70 vvel azutn, hogy megnyerte els nekversenyt tves korban Sylvia La Torre tovbbra is a Flp-szigetek Kundiman kirlynjeknt uralkodik. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public life. Atang Dela Rama - Biography - IMDb Rejecting the idea that their campaign grew out of an American cultural construction of the feminine, Filipina suffragists took to what they called panuelo activism in their use of the terno and reasserted the idea that the womens suffrage was, indeed, a Filipino project.Footnote62. singer 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. 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. 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds. I then turn to de la Ramas work outside of the sarsuwela to further elaborate on her authorial performance within the broader landscape of popular entertainment in the Philippines and abroad. 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. 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). Other photos of de la Rama from the 1930s onward show her holding the banga and wearing later versions of the balintawak that has a more straight-lined silhouette with matching fabric for the top and bottom parts of the dress. 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. 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). Within this tension between the urban and the rural, representations of women often invoked expectations of Filipina femininity that conveyed a nostalgia for the pastoral lifestyle, a reaction to perceived encroachments of the foreign and the modern onto traditional Filipino values. This short song features de la Ramas use of vocal slides and a gruff timbre that intensifies as she sings the final verse: What seemed like an innocent and playful depiction of the mundane becomes tinged with innuendo as de la Ramas rendition of the final verse elicits boisterous and knowing laughter from her partner Ocampo. 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. 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. Remembering The Philippines Biggest Star: Atang De La Rama She was also at the forefront of introducing Filipino culture to foreign audiences. Atang de la Rama Collection: Manuscripts Home: Contents; Personal Papers -- Amado V. Hernanadez . See also Angel Velasco and Luis Francia, Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999 (New York: New York University Press, 2002). Lahat na lang ng di mapagkakakitaan, nasa kanya na. Castros remarks on the artists rendition of Awit ng Pagkahibang and the reactions it elicited from the audience drives home the centrality of performance in the conception of a musical and theatrical work. Vaudevilles early beginnings in the Philippines can be traced to a variety of theatrical entertainment by visiting American and European troupes in Manila in the late nineteenth century. 31 Franco Vera Reyes, Taliba (April 26, 1930). The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. The second in the list is Punyal ni Rosa with 366 performances. The Queen of the Kundiman, at once a striking presence on the popular stages of Manila and beyond, demands that her performance be taken seriously. Atang de la Rama was born in Pandacan, Manila January 11, 1902 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). Honorata "Atang" Dela Rama - Wikipilipinas This treaty ceded the Philippines (along with Puerto Rico and Guam) to the United States in the aftermath of the Spanish-American war. 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. [2], Atang de la Rama was born in Pandacan, Manila on January 11, 1902. Because of her ubiquitous visibility in the artistic and civic life in the Philippines, her name has outlived those of most other artists of the sarsuwela stage, and her career withstood the changes and technological advances in mass media that occurred throughout her long life. See also Fernandez, Palabas, 8889. 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. 71 De la Rama was awarded the National Artist Award for theater and music. I regret I am not seen often enough attending cultural events. 3 (1993): 32043, at 331. 52 El Teatro Tagalo Emergera Como Un Nuevo Ave Fenix, La Opinion (March 16, 1938). 17 The recording I used for this analysis is a compact disc compilation entitled Kamuning: Re-mastered (Quezon City: Yesteryears Music Gallery, 2000). 1/2 (1997): 12850, at 141. al., Fashionable Filipinas, 141. 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. Just as the womens movement was gaining ground in the Philippines, de la Rama harnessed the power of the visual, constructing her celebrity as much from her image as a professional and cosmopolitan artist as from her iconic status as the dalagang bukid.. 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. 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]. 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?

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