atang dela rama awards

I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. 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 soon became a solo headliner, performing in Manila's largest theaters such as the Savoy, the Palace, and the Lux. 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. Original text: Kung napupuri at kinagigiliwan ang Maria Luisa, ang masasabi ko, bilang awtor, ay utang kay Atang de la Rama na isang tunay na himala sa pagtupad ng kanyang papel simula sa unang bahagi ng dula at hanggang sa wakas lalo noong inaawit niya ang awit ng pagkahibang Hesus Naririnig sa lahat ng dako nang dulaan ang iyakan ng mga manonood at ang mga piping buntong -hininga ng damdaming nakukuyom sa kanilang mga puso.. Nicanor G. Tiongson. 68 Atang de la Rama: Sarsuwela Star, Philippine Panorama (August 28, 1983). 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. Lahat na lang ng di mapagkakakitaan, nasa kanya na. Original text: Huwag namang daramdamin ng maraming artistang lumalabas sa Maria Luisa ay utang sa pagtupad ng Mutya ng Dulaang Tagalog ang lalong malaking bahagi ng tagumpay ng sarsuewlang ito. The second in the list is Punyal ni Rosa with 366 performances. The characteristic bitin or prolonged delivery of cadential phrase endings mentioned earlier, for example, echo vocal techniques heard in de la Ramas own recordings. 2. Postwar productions changed the title to Ang Masayang Dalaga (The Happy Maiden), which reflects a subtler variation of the dalagang haliparot type. 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. 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. During the American. 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. During the latter part of her life she lived in Gagalangin, Tondo, birthplace of her husband, Amado V. Hernandez, himself a National Artist, whom she married in 1932. 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. 10 Clutario, The Appearance of Filipina Nationalism, 2. 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. 67 Jun Cruz Reyes, Ka Amado (Diliman, Quezon City: University of the Philippines Press, 2012), 15354, 25657. Original text: Ay naku! The centennial of local movies is celebrated this year, 2019.. 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). 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. This double image of the Filipina is woven throughout de la Ramas other publicity photos. This position ironically came from the male politicians advocating for independence. Throughout the sarsuwela, the urbanization of Manila and its perceived vices are placed in subtle contrast against the idyllic image of the countryside represented through the character of Angelita. This and all other translations are mine. She also made an effort to bring the kundiman and sarsuela to the indigenous peoples of the Philippine such as the Igorots, the Aetas, and the Mangyans. 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. Here, she is deliberate in her pauses and vocal slidescommonly referred to in Filipino music parlance as bitin and hagodand leaves the listener with a sense of vertiginous hanging just before the final cadence. Theater historian Nicanor Tiongson underscores the importance of Ignacio and de la Ramas relationship, and how he helped launch her career by guaranteeing her roles in sarsuwelas that he was commissioned to write.Footnote23 Yet it was also plausible that Ignacios career and the entire Tagalog sarsuwela scene in Manila took an upward turn because of de la Ramas successful debut in Dalagang Bukid. Also, Renato Lucas, A Preliminary Annotation of Selected Discography by Filipino Artists, 19131946, Journal of the Arts, Culture, and the Humanities 3, no. Formal U.S. occupation of the archipelago ended in 1946 with the declaration of Philippine Independence, while the influence of the American empire in the Philippines continued long after. While de la Ramas popularity as the dalagang bukid of the theatrical stage may have helped construct her good girl image, her performances outside of sarsuwela point to the broader network of popular entertainment in which she toyed with traditional expectations of Filipina femininity. 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. 43 Peter Keppy, Tales of the Southeast Asian Jazz Age, 80. 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. Entertainers and the Making of the Pacific Circuit, 1850-1890, (PhD dissertation, University of Michigan, 2010), 1516. 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. 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). It is good that I am broad-minded and I knew that he helped the poor and the workers. 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. 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 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). For more on the history of the womens movement in the Philippines, see Belinda A. Aquino, Filipino Women and Political Engagement, in More Pinay than We Admit (Quezon City: Vibal Foundation, 2010), 1738. 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.. 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. Bernardino Buenaventura of Samahang Gabriel (Company Gabriel) rewrote it for the stage with music by Jose Z. Rivera. She was married to National Artist for Literature, Amado V. Hernandez. The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace. 41 See Antonio C. Hila, Ramon P. Santos, and Arwin Q. Tan, Kundiman, in Cultural Center of the Philippines Encyclopedia of Philippine Art, 2nd ed., ed. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. 61 Roces, Is the Suffragist an American Colonial Construct, 45. 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). Breaking down stereotypes: The divas voice, On the multiple stages of popular entertainment, Creating Filipina nationalism: The divas image, https://doi.org/10.1080/01411896.2021.1992595, https://www.flickr.com/photos/9307819@N05/2544474500/in/photostream/, http://nlpdl.nlp.gov.ph/AD01/clippings/NLPADB00811486/datejpg1.htm, http://nlpdl.nlp.gov.ph/NL02/NLPADGD40850fd/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00311420/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111373/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00111378/datejpg1.htm, http://nlpdl.nlp.gov.ph/AD01/manuscripts/home.htm, Medicine, Dentistry, Nursing & Allied Health. Born January 11, 1905 Died July 11, 1991 (86) Add or change photo on IMDbPro Add to list Known for Dalagang bukid 7.2 Filipino zarzuelistas continued to perform Spanish repertoire at the same time that sarsuwelas in Tagalog and other local Philippine languages were on the rise at the turn of the twentieth century. De la Rama in different versions of the traje de mestiza and terno. De la Ramas personal writings hint that she engaged directly in this balancing act between private and public life. Angelita and Cipriano are the main protagonists in the sarsuwela. Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. Original text is in English. al., Fashionable Filipinas, 141. 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 works of Severino Reyes (18611942), one of the foremost playwrights of the Tagalog sarsuwela, are exemplary. It is this sense of authorship that Hilary Poriss similarly argues for the critical work of prima donnas of the nineteenth century in their practice of altering operatic scores in performance, thereby challenging conceptions of authenticity of a given musical work.Footnote8 While Abbate and Poriss comment largely on the history and performance of European opera, such theorizations of the voice and of the performing artist are particularly helpful in teasing out the ways in which de la Ramas voice and stage presence position her as co-creator of sarsuwelas.