atang dela rama awards

The 1919 silent-film version of Dalagang Bukid, considered the first film largely produced and directed in the Philippines by Filipinos, capitalized on de la Ramas early success onstage as much as it propelled her career forward. The Order of National Artists of the Philippines (Filipino: Orden ng mga Pambansang Alagad ng Sining ng Pilipinas) is an order bestowed by the Philippines on Filipinos who have made significant contributions to the development of Philippine art.Members of the Order are known as National Artists.Originally instituted as an Award, it was elevated to the status of an order in 2003. She firmly believed . 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. Contemporary accounts portray de la Rama as a commanding authority on the theatrical stage. 46 Ibid. Her performances on the sarsuwela stage refashioned stereotypical female characters. This and all other translations are mine. 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. But how can you remain relaxed at home on that night, knowing that Atang celebrates her gala of honor? Despite the poor quality of some of the recordings, her voice remains striking in its clarity and vibrancy, a distinctive characteristic that resounded particularly well in early Philippine radio broadcasting. 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. 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. Order of National Artists of the Philippines, National Commission for Culture and the Arts, https://en.wikipedia.org/w/index.php?title=Atang_de_la_Rama&oldid=1130385614, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 29 December 2022, at 22:45. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. In the latter part of this essay, I pair my analyses of de la Ramas musical voice with her strong visual presence in commercial photography and print media during the 1920s and 1930s. It is good that I am broad-minded and I knew that he helped the poor and the workers. These accounts skip over the existence of the kundiman in the popular entertainment stages like bodabil, thus helping to eliminate de la Ramas influence from the historical record. A survey of her extant recordings yields a discography of thirty-five Tagalog songs, mostly for Columbia records, from the 1920s to the late 1930s.Footnote48 A number of these songs, like Nabasag ang Banga and Masayang Dalaga, originate in sarsuwelas while others are Tagalog folk and novelty songs and duets recorded with Vicente Ocampo. During the American. The Order of National Artists (Orden ng Pambansang Alagad ng Sining) is the highest national recognition given to Filipino individuals who have made significant contributions to the development of Philippine arts; namely, Music, Dance, Theater . 55 Karen Henson, Introduction: Of Modern Operatic Mythologies and Technologies, in Technology and the Diva: Sopranos, Opera, and Media from Romanticism to the Digital Age, ed. 68 Atang de la Rama: Sarsuwela Star, Philippine Panorama (August 28, 1983). 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. She died on 11 July 1991 in the Philippines. 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. 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. Deflecting the advances of this suitor, Angelita elopes with her childhood sweetheart, the law student Cipriano. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. So far, only one award for literature has been granted, Edith Tiempo (1999), and none for visual arts and film. This essay examines the role of Atang de la Rama in the development of the Tagalog sarsuwela and in the emerging popular entertainment industry in the Philippines in order to make a claim about women in performance as primary creators of Filipino culture and identity. 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. [3] 18 Tiongson similarly underlines de la Ramas flirtatious performance as he reconstructs the artists rendition of Nabasag ang Banga. See Nicanor Tiongson, Atang de la Rama: Unat Huling Bituin (Pasay City, Philippines: Cultural Center of the Philippines, 1987), 19. As scholars Peter Keppy and Frederick Schenker have noted, the real-life cabarets that proliferated in the Philippines were subject to crackdowns by local authorities as well as to criticisms by Filipino elites and nationalist rhetoric.Footnote24 Schenker, in particular, points to the ways in which bailarinas of this period were caught in the debates about Filipino racial respectability and readiness for self-rule.Footnote25, Ang Kiri fleshes out the moral and cultural contradictions of Manilas cabaret scene through the story of Sesang, a former bailarina who reenters polite society.Footnote26 As the kiri or coquette character, Sesang bears the social stigma of her occupation and struggles to seek moral redemption throughout the drama. 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). : Defining The Filipino Woman in Colonial Philippines, in Womens Suffrage in Asia: Gender, Nationalism and Democracy, eds. At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". 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. 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. In 1926, de la Rama performed with the Manila bandmaster Andres Baclig and his jazz band, the Manila Syncopators, in Honolulu.Footnote44 An account of de la Ramas travels abroad published in the Philippines Free Press highlighted the nationalist pride that such performances engendered and the critic reported at length about de la Ramas appearances as a goodwill mission of patriotic art.Footnote45 In the same 1926 tour, de la Rama made stops in Hong Kong and Yokohama, Japan prior to landing in Hawaii. 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. 27 Clutario, The Appearance of Filipina Nationalism, 11011. Hence, it is in Atang de la Ramas performance, her creative authorship, that the sarsuwelas are made real. 7 Carolyn Abbate, Opera; or, the Envoicing of Women, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. 3 (1993): 32043, at 331. 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. Si Adan sa Paraiso, Plays and Short Stories Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/NLPADMNB00311420/datejpg1.htm). These tensions between new and old, modern and traditional were mapped onto expectations of Filipina femininity against which de la Ramas performances continued to creatively rebel. 2 (2010): 35988, at 361. See also Fernandez, Palabas, 8889. For a detailed account of the different theater venues that staged Spanish and Tagalog repertoire throughout the nineteenth and early twentieth centuries, see Cristina Lacnico-Buenaventura, The Theater in Manila, 1846-1946 (Manila: De La Salle University Press, 1994). 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). Among the highlights of the production was the song performed by de la Rama, Awit ng Pagkahibang (Delirium Song) in the second act. 15 Susan Thomas, Cuban Zarzuela: Performing Race and Gender on Havanas Lyric Stage (Champaign, IL: University of Illinois Press, 2009), 7. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. 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. Set as a foxtrot, Nabasag ang Banga tells the story of a young maiden fetching water who accidentally slips and breaks her jar when a persistent suitor approaches her. At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. No recording of this song has so far materialized, but reviews of the sarsuwela underline the effectiveness of de la Ramas performance. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. She was named a national artist of the Philippines in 1987, at the age of 85. 12 (2004): 75106, at 9798. Moreover, de la Ramas celebrity status did not rely solely on her vocal ability, but also on the visual aspects of her performances on- and offstage. 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. Angelita ( Atang de la Rama ), a young flower vendor who works in front of a cabaret named Dalagang Bukid, and poor law student Cipriano (Marceliano Ilagan) are in love. 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. 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. 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. Early life . 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. 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. 45 El Poder del Kundiman, Philippines Free Press (August 21, 1926). Photographs of de la Rama aided her popularity locally and abroad and served as additional sites for her performance of Filipina femininity. Figure 2. Cultural Center of the Philippines. I am especially indebted to Pamela Potter, Christi-Anne Castro, Susan Cook, Anne Shreffler, Elaine Fitz Gibbon, Elisabeth Reisinger, David Miller, and Frederick Schenker. The local vaudeville or bodabil stageas it was referred to in Tagalogprovided such a space for blurring the boundaries between traditional and modern, old and new. She was also at the forefront of introducing Filipino culture to foreign audiences. As of this writing, there are 7 National Artist for Theater awardees. Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. 33 See also Matthew Wittman, Empire of Culture: U.S. 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. Fernando Amorsolos Campesina (Peasant, 1927). Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. 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. Atang dela Rama was a graduate of BS Pharmacy in 1922. Atang dela Rama is billed 'The First Star of Philippine Cinema' as she portrayed the title role in Dalagang Bukid in 1919. 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. A recording of the song, set in the lilting danza rhythm, begins with a subdued rendition by de la Rama of the opening verse as Sesang sadly reminisces about her cabaret days. 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? Registered in England & Wales No. 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). By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 12 Soledad S. Reyes, Representations of Filipino Women in Selected Tagalog Novels (1905-1921), in Feasts and Feats: Festschrift for Doreen G. Fernandez, eds. 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. Ignacio Manlapazs description of her in the Philippines Herald is illustrative: Atang de la Rama helps in the eradication of untoward behavior of theatergoers and that they may learn to respect the art of acting. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). Academics echoed similar critiques. 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. Permission is granted subject to the terms of the License under which the work was published. The perception that suffragists also had strong support from American colonial officials (such as Governor General Francis Burton Harrison) added to the political tensions. De la Rama.Footnote2. Atang de la Rama was born in Pandacan, Manila on January 11, 1902. theather. See Helen F. Samson-Lauterwald, Music in the Sarsuwelas of Severino Reyes (Lola Basyang) (Diliman, Quezon City: University of the Philippines Press, 2016). While a few scholars have previously underlined the sexual innuendo in Nabasag ang Banga, the reading of the broken jug as a metaphor for lost virginity had a somewhat contested origin.Footnote19 Indeed, the reception of the songs sexual themes in de la Ramas performance may have prompted Tagalog writer Remigio Mat Castro to remark in 1923 that the playwright Ilagan did not intend any metaphorical messages for the original song but instead meant for it to be taken literally.Footnote20 In his compilation of short stories, Nabasag ang Banga?, Castro borrows the popular song title and, in his introduction, insists that nabasag ang banga acquired its metaphorical meaning outside of the context of the sarsuwela. 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. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). (2002). 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. 21 Tiongson, Atang de la Rama, 59; Fernandez, Zarzuela to Sarswela, 331. De la Cruz also appeared in films and received a FAMAS Best Supporting Actress Award in 1953. 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. Atang Dela Rama was born on January 11, 1905 in Manila, Philippines. 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". 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]. Her parents came from Negros Occidental. 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. She navigated the theatrical stages of sarsuwela and bodabil fluidly, occasionally writing and producing shows herself. Ruth A. Solie (Berkeley: University of California Press, 1993), 22558. 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. At the age of 14, Atang played as lead role in a sarsuela entitled "Dalagang Bukid" which was a hit during 1919. Some of the notable composers of this early sarsuwela repertoire were Jos Estella, Juan de Sahagun Hernandez, and Fulgencio Tolentino. Copies of her comedy sketches includes a short skit entitled Lalake!!! 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. Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. 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. 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. Soon after, fighting broke out between American and Filipino forces, which led to the deaths of hundreds of thousands of Filipino military and civilians. [4] She has also been a theatrical producer, writer and talent manager. 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.. For more information please visit our Permissions help page. And she gets away with it.Footnote47 While there are only a few accounts of de la Ramas performances outside of the kundiman repertoire, recordings provide more information about the breadth of styles and repertoire in which she excelled. (n.d.). Perhaps it is only theater royalty who could get away with schooling their public. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? Also formally recognized as a National Artists for Theater and Music by Former President Corazon Aquino for Honorita's love . The characteristic bitin or prolonged delivery of cadential phrase endings mentioned earlier, for example, echo vocal techniques heard in de la Ramas own recordings. I refuse to believe it, because you were, you are, and will always be my good protector and affectionate friend Ill wait for you, then. At the age of 15, she starred in . Atang Dela Rama on IMDb: Awards, nominations, and wins. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. For her achievements and contributions to the art form, she was hailed Queen of the Kundiman and of the Sarsuela in 1979, at the age of 74.[3]. Atang Dela Rama Angelita Mar I. Esmeralda Director Jose Nepomuceno Writers Leon Ignacio (story) Hermogenes Ilagan (story) All cast & crew Production, box office & more at IMDbPro Storyline Edit Did you know Trivia Considered as the first Filipino movie made. By the late 1910s and early 1920s, sarsuwela repertoire mirrored anxieties around the urbanization of Manila in striking contrast to the idyllic rural countryside. 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. 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. 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). De la Ramas long career richly illustrates the power of the female voice in shattering gendered and prescriptive notions of Filipino nationalism that emerged in the 1920s and 1930s amidst anxieties over the Americanization of Filipino culture. 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. See Gino Gonzales et. 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. De la Rama in different versions of the traje de mestiza and terno. 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. Born January 11, 1905 Died July 11, 1991 (86) Add or change photo on IMDbPro Add to list Known for Dalagang bukid 7.2 Anvil Publishing.2004. She soon became a solo headliner, performing in Manila's largest theaters such as the Savoy, the Palace, and the Lux. 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. 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. 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. 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. 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. In a tennis court scene showing the new types of social spaces that women could inhabit, Sesang appears wearing sports attire as she hangs out with her suitors. 65 Roces, Is the Suffragist an American Colonial Construct, 37. 8 Hilary Poriss, Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford: Oxford University Press, 2009). 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. 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. Honorata de la Rama Hernandez, popularly known as Atang de la Rama, a singer and performer is the first star of the Philippine Cinema. Her celebrity image and creative output arguably kept the Tagalog sarsuwela stage afloat, even in the midst of increasing competition from other forms of popular entertainment in the 1930s and toward the latter years of the American colonial period. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). "Atang" de la Rama was born in Pandacan, Manila on January 11, 1902. 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. As such, her work serves as a critical example of an artists rewriting of gendered identities embedded in the text and music. 1 (1981): 7788, at 83. 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. National Commission for Culture and the Arts. 52 El Teatro Tagalo Emergera Como Un Nuevo Ave Fenix, La Opinion (March 16, 1938). Of all the many roles she played and stages on which she appeared, her performance in Dalagang Bukid remains her greatest and most memorable success.Footnote72 But a more comprehensive account of her creative and artistic breadth reveals an artist with a keen understanding of performance both on and off the stage. 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). Register a free Taylor & Francis Online account today to boost your research and gain these benefits: Creative Authorship and the Filipina Diva Atang de la Rama. Of the 73 honorees since the awards reception in 1972, de la Rama is among only 11 women.Footnote71 Even in these later decades of her life, de la Rama presented herself in her trademark terno, a picture of grace with a little bit of spunk, not unlike her debut character half a century ago.

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