Pag may welga, magpapakuha yan ng saku-sakong bigas at lata ng biskuwit kayat palaging laslas ang bulsa ni Atang de la Rama. Emphasis in the original article. 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. 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. 52 El Teatro Tagalo Emergera Como Un Nuevo Ave Fenix, La Opinion (March 16, 1938). 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. 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. As Nabasag ang Banga progresses, however, the playfulness she adds to her interpretation slowly complicates the image of the meek and virginal Filipina. Lahat na lang ng di mapagkakakitaan, nasa kanya na. occupation of the Philippines, Atang de la Wrote short stories in Tagalog Prima Donna of Filipino. 60 The term terno emerged in the late 1900s and originally referred to the use of a single type of material (like the sinamay or abac fabric) for the camisa, pauelo, and saya of the dress, creating a more uniform and matching look. 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. and National Commission for Culture and the Arts. Soon after, fighting broke out between American and Filipino forces, which led to the deaths of hundreds of thousands of Filipino military and civilians. In the April 26, 1930 issue of the Tagalog daily Taliba, for example, Franco Vera Reyes wrote, I hope the many artists who starred in Maria Luisa will not be offended by this but they owe a huge part of the zarzuelas success to the muse of the Tagalog drama [Mutya ng Dulaang Tagalog]. Cultural Center of the Philippines. 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 was widowed in 1970 In 1970, at the age of 68, her husband, Amado V. Hernandez, passed away. 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). The balintawak, with its prominent sleeves and translucent fabric paired with a shawl wrapped around the waist, was the everyday clothing of the lower and middle working classes in the first decades of the twentieth century. 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. 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. She firmly believed . 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. A careful study of the life and career of de la Rama fills a huge gap in the history of the performing arts in the Philippines that has emphasized male playwrights, composers, and political elites in their representations of the Filipina. She died on July 11, 1991 in the Philippines. 1 (1981): 7788, at 83. Angelitas parents plan to marry her off to the much older and wealthy loan shark Don Silvestre. As of this writing, there are 7 National Artist for Theater awardees. 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. Nicanor G. Tiongson. [3] In the local vaudeville circuit, for instance, she performed novelty songs in English and popular excerpts from Italian operas, including duets with the Italian baritone Mario Padovani. Cultural Center of the Philippines. By the age of 7 she was already starring in Spanish zarzuelas such as Mascota Sueo de un Vals and Marina. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un . By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. While Reyes extols the virtue and bravery of the Filipina, especially in her contributions to the revolution against Spain, he nevertheless reaffirms that the only natural place for women is in the home. Original text: Tumutulong si Atang de la Rama upang ang mga may pangit na asal na nanonood sa mga dulaan ay matutong gumalang sa arte. De la Rama died on July 11, 1991. 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. The other women awardees largely belonged to performing arts categories. It is good that I am broad-minded and I knew that he helped the poor and the workers. Yet throughout her life, de la Rama also actively took part in civic organizing, particularly for womens causes. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. These concerns may have been reflecting the dynamics of De la Ramas own marriage to the poet and labor leader Amado Hernandez. 31 Franco Vera Reyes, Taliba (April 26, 1930). 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. Her consistent pairing of the Filipino dress, the terno, with global beauty trends in makeup and hairstyles revealed a self-fashioning practice that was simultaneously modern and traditional, Filipino and cosmopolitan. As a form of denouement, a woman revolutionary general successfully overthrows the government and then promptly declines to take office; instead she urges her fellow women to go back to their true duties: rebuilding the home and the Filipino population.Footnote14 This reactionary narrative echoes musicologist Susan Thomass description of Cuban zarzuelas anti-feminist but pro-feminine plots in which playwrights relied on their female protagonists and the artistry of the female voice while continuing to uphold a peculiar set of social, political, and economic conditions which hinged on the role and behavior of women in Cuban society.Footnote15 As Filipino playwrights sought to create a world that mirrored the dramas of middle-class domestic life and the patriarchal social order of early-twentieth century Manila, the roles de la Rama performed reveal an intentional revision of gendered identities that rebelled against traditional expectations of womens behavior. 51 From Lacnico-Buenaventuras 1985 interview with de la Rama. 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. At the end of this rendition, one is left with the distinct impression that she is mischievously waiting to tip over and break the jar herself.Footnote18. During the American. [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. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. 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. He was everything that didnt make money. Although one can read a certain conservatism in de la Ramas disdain for the knee-length skirt, her insistence on wearing the terno became an integral part of her performing her own femininity and Filipino identity. Queen of the Kundiman and. 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. 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). 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. He remarks on how the phrase became a popular idiom among the Tagalog-speaking public, who found the phrase more pleasing to the ear and a more appropriate substitute to saying losing ones virginity in public. She navigated the theatrical stages of sarsuwela and bodabil fluidly, occasionally writing and producing shows herself. The most notable of these were Sakay, Anak Dalita, Kandelerong Pilak, Sergeant Hasan, Destination Vietnam, and The Evil Within. 47 Savoy Nifties New Spanish Ballet, The Tribune (January 24, 1925). For more information please visit our Permissions help page. As Andrew N. Weintraub and Bart Barendregt have remarked, the ascendancy of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, and women as business entrepreneurs and independent income earners and as models for new lifestyles.Footnote11 De la Ramas performing career on the multiple stages of musical theater and popular entertainment in the Philippines richly illustrates this dynamic. 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). 45 El Poder del Kundiman, Philippines Free Press (August 21, 1926). 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. To them, the American characteristics deemed feminine were conflated with the modern woman: English-speaking, university-educated, a professional or a clubwoman active in civic work, and by the 1920s, a suffragist. 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]. 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). Hence, it is in Atang de la Ramas performance, her creative authorship, that the sarsuwelas are made real. This position ironically came from the male politicians advocating for independence. 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. 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. Read full biography. The second in the list is Punyal ni Rosa with 366 performances. 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. 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. 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. One particular song recording, the duet Bibingka (a type of Filipino rice cake delicacy), is particularly illustrative in demonstrating de la Ramas jazzy vaudevillian character. Copies of her comedy sketches includes a short skit entitled Lalake!!! De la Rama was instrumental in the popularization of the Tagalog song repertory across these different entertainment platforms; she activated voice and image to play a central role in creating a Filipina femininity in the 1920s that challenged expectations of womens work as solely devoted to home and family life. 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. I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. al., Fashionable Filipinas, 141. 12 (2004): 75106, at 9798. p. 97-109. 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. 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. 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. 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. In 1979, she was hailed as Queen of Kundiman, and in 1987, she was awarded as National Artist for Theater and Music. Motoe Terami-Wada also mentions de la Ramas stage engagements in 1943 during the Japanese Occupation where she led sarsuwela performances through the auspices of the organization Musical Philippines. 67 Jun Cruz Reyes, Ka Amado (Diliman, Quezon City: University of the Philippines Press, 2012), 15354, 25657. Her real . Second, I chart her rise to stardom alongside the emerging political voice of the womens movement in the 1920s and 1930s to highlight how de la Rama helped create a robust Filipina nationalism through her work and image as a performer. Louise Edwards and Mina Roces (London; New York, NY: Taylor and Francis, 2004), 2458. 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. Kung umaawit siya sa tanghalan ay laging minamataan niya ang mga gumagambala sa kanyang pag-awit, at sa sandaling makatapos ay nananaog siya sa ibaba at binabayaran ng mariing sampal sa mukha ang sinumang bumastos sa kanya. By the late 1910s and early 1920s, sarsuwela repertoire mirrored anxieties around the urbanization of Manila in striking contrast to the idyllic rural countryside. At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. Though not the mythical glass-breaking sopranos voice, hers retains a youthful character similar to that of a soubrette, with its bright tone and fast vibrato which helps reinforce the image of the innocent young maiden. Atang Dela Rama was born on 11 January 1905 in Manila, Philippines. 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. 3 (1993): 32043, at 331. Her parents came from Negros Occidental. 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. Among the highlights of the production was the song performed by de la Rama, Awit ng Pagkahibang (Delirium Song) in the second act. 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. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). This double image of the Filipina is woven throughout de la Ramas other publicity photos. 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. 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. 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. 3099067 Fernando Amorsolos Campesina (Peasant, 1927). She finds it impossible to keep on a balanced budget unless she helps her partner in lifethat is, she gets a job.

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