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. She firmly believed . 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. 11 Andrew N. Weintraub and Bart Barendregt, eds., Vamping the Stage: Female Voices of Asian Modernities (Honolulu: University of Hawaii Press, 2017), 2. See Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. 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. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. Tamang sagot sa tanong: MUSIC please help me() - studystoph.com Several commentators unabashedly praised the diva in the local press. 52 El Teatro Tagalo Emergera Como Un Nuevo Ave Fenix, La Opinion (March 16, 1938). 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. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). This double image of the Filipina is woven throughout de la Ramas other publicity photos. 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). 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. Through sound recordings, reviews, photos, and her own writings, I amplify de la Ramas musical and metaphorical voice to address the important role of women in Philippine music and popular culture. She was married to National Artist for Literature, Amado V. Hernandez. 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. This consisted of a top called the camisa, the saya skirt, and the pauelo, which evolved from a functional modesty shawl into a more decorative lapel sewn onto the camisa.Footnote59 The traje de mestiza was worn by upper class Filipino women and was reserved for evening- and formalwear. 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. It is good that I am broad-minded and I knew that he helped the poor and the workers. Whether Ilagan intended the double entendre or not, it is likely that de la Ramas rendition and continued performance of the song was the true source for the broken jug euphemism. For de la Rama, however, her self-fashioning style became an integral component of her status as a celebrity and a commanding artist. De la Ramas performances transformed the kundiman into a particularly potent musical and cultural symbol of Filipino identity. Sesangs character as the former cabaret dancer embodies the modern, cosmopolitan woman of the 1920s, while scenes and costume details situate her worldly and morally questionable personality.Footnote28. Their repartee turns into de la Rama singing about the method of cooking the rice cake with fire below and on top and how her bibingka is much sought after for its extra stickiness and its full toppings of egg and cheese. 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. Registered in England & Wales No. At the meeting, de la Rama sang kundimans in honor of the voluntary exiles. Moved to tears, the account continues, Ricarte said to de la Rama this is the first time in I dont know how long that Ive heard one of our kundimans. 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). Perhaps it is only theater royalty who could get away with schooling their public. 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 Queen of the Kundiman, at once a striking presence on the popular stages of Manila and beyond, demands that her performance be taken seriously. Honorata de la Rama Hernandez, popularly known as Atang de la Rama, a singer and performer is the first star of the Philippine Cinema. 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. 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. De la Rama as dalagang bukid on the program cover for the December 7, 1919 benefit performance. 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. She died on 11 July 1991 in the Philippines. 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. But how can you remain relaxed at home on that night, knowing that Atang celebrates her gala of honor? 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. Background Atang de la Rama was born in Tondo, Manila on January 11, 1905. 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. Along with other major colonial ports such as Hong Kong, Batavia, and Singapore, Manila became part of a broader theatrical circuit of traveling opera companies, circuses, and minstrel shows in the Pacific region.Footnote33 At the turn of the twentieth century, variety shows were staged in different contexts including performances by American soldiers as part of their military entertainment as well as productions by traveling companies that catered to the general public.Footnote34, By the 1920s and 1930s, bodabil featured a mix of song, dance, and theatrical sketch performances by foreign-born and Filipino artists alike. Her real . 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. 58 Roces, Is the Suffragist an American Colonial Construct, 3233. Also, Renato Lucas, A Preliminary Annotation of Selected Discography by Filipino Artists, 19131946, Journal of the Arts, Culture, and the Humanities 3, no. 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. De la Rama.Footnote2. Mabuti na lang at broad-minded ako at nalalaman ko ang tulong na ginagawa niya sa mahihirap at sa mga manggagawa. Deflecting the advances of this suitor, Angelita elopes with her childhood sweetheart, the law student Cipriano. 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. 22 The article was derived from a booklet published by Columbia Gramophone Company with a letter written by Sawyer, dated November 23, 1914. In the dramas final act, the playwright imagines a Philippines in a state of regression under a female-led government. She died six months after her birthday Rama passed away on July 11, 1991, which was exactly six months after her 89th birthday. 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. 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. Perhaps the most remarkable review comes from Maria Luisas author, Remigio Mat Castro, published in the Tagalog paper Pagkakaisa: If Maria Luisa is praised and enjoyed, I can only say that, as its author, I am indebted to Atang de la Rama, who is a true miracle in her role from the first act of the play until the end more so when she sang the song of madness Jesus One hears from all corners of the theater the audience crying and the mute sighs of their pent-up emotions.Footnote32. 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. 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. 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. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. 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. Angelitas parents plan to marry her off to the much older and wealthy loan shark Don Silvestre. 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. But de la Ramas success in Dalagang Bukid ushered in a renewal of the lyrical stage with works by other emerging playwrights such as Precioso Palmas Paglipas ng Dilim (After the Darkness, 1920), Julian Cruz Balmacedas Sa Bunganga ng Pating (In the Sharks Jaws, 1921), and Servando de los Angeless Alamat ng Nayon (Legend of the Town, 1925). Original text is in English. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. 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. 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. 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. Her direct address to potential audiences reflected a bold and confident voice that knew how and when to play the crowd. 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. Historical accounts of the 1919 Dalagang Bukid film version remark on how de la Rama, on occasion, performed the songs live and in synchrony with the film.Footnote51 In this early beginning of commercial cinema in the Philippines, it was de la Ramas voice from behind the curtain that provided the emotional depth to the novelty of images being projected on the screen. 10 Clutario, The Appearance of Filipina Nationalism, 2. 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. 20 Remigio Mat Castro, Nabasag ang Banga? Copies of her scripts are found in the Manuscripts Folder, Atang de la Rama Collection, National Library of the Philippines (http://nlpdl.nlp.gov.ph/AD01/manuscripts/home.htm). Read full biography. Conferring the National Artist Award on Atang de la Rama, President Aquino says that the best in culture and the arts is achieved in a climate of political freedom. 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). 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). 30 Maria Luisa was originally written by Remigio Mat Castro as a serialized short story for Liwayway magazine. 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. Courtesy of Adlai Lara. 25 Schenker, Empire of Syncopation, 25657. 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. 68 Atang de la Rama: Sarsuwela Star, Philippine Panorama (August 28, 1983). 65 Roces, Is the Suffragist an American Colonial Construct, 37. Permission is granted subject to the terms of the License under which the work was published. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. A 1930 appearance in the sarsuwela Maria Luisa offers another example of de la Ramas authorial role as a performing artist.Footnote30 In this work, she played the role of Anita, the daughter of the wealthy Don Justo. 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 . Contemporary accounts portray de la Rama as a commanding authority on the theatrical stage. Continue your trip to show other nations and whites our capacity for all kinds of pursuits and that we also have artists that we can be proud of!Footnote46 Such adulation underlines de la Ramas inextricable connection to the song form and her role in crafting kundimans canonic place in Philippine music. Atang became the very first actress in the very first locally produced Filipino film when she essayed the same role in the sarsuela's film version. 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. Spanish artists Elisea Raguer and Alejandro Cubero soon followed and were later responsible for training local artists such as Nemesio Ratia, Jos Carvajal, and Prxedes Yeyeng Fernndez, all of whom subsequently formed their own companies. Academics echoed similar critiques. 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]. National Commission for Culture and the Arts. 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. 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. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. De la Ramas fame as the Queen of Kundiman spread beyond Manila as she embarked on several extended tours abroad in 1926, 1932, and 1936. At the age of 15, she starred in . 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. (n.d.). 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. 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). At the age of 15, she starred in the sarsuela Dalagang Bukid, where she became known for singing the song "Nabasag na Banga". performing alongside other leading stage performers such as Atang de la Rama. When there was a strike, he would order sacks of rice and cans of biscuits and charge them to me. 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. By 1925, de la Cruz was the highest paid . Angelita and Cipriano are the main protagonists in the sarsuwela. 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. Atang dela Rama Born Honorata de la Rama January 11, 1905 Tondo, Manila, Philippine Islands Died July 11, 1991 (aged 86) Manila, Philippines Occupation Filipino singer and actress Years active 1919-1956 Spouse(s) Amado V. Hernandez Awards National Artist for Theater and Music 1987 Atang de la Rama was born in Tondo, Manila on January 11, 1905. 36 Ang Wika at mga Tugtugin, Bagong Lipang Kalabaw (October 7, 1922). 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. . 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. 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). These concerns may have been reflecting the dynamics of De la Ramas own marriage to the poet and labor leader Amado Hernandez. Details Release date September 25, 1919 (Philippines) Country of origin Philippines By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. Her vocal technique and theatricality not only made her especially well-suited for the genre but also created the kundimans distinctive sentimentality and now-standard performative nuances. 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. 53 Lalake!!! 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. Finding that his daughter has become pregnant out of wedlock, Justo inflicts the cruelest of punishments: he gives away her newborn daughter. 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. As Roces argues, for the new class of working and professional women, [m]odernization required the abandonment of traditional dress when performing modern tasks.Footnote61, Figure 3. 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. Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. 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. Si Adan sa Paraiso (Man!!! To complicate the stereotyped reading of the morally suspect flirt, however, de la Rama uses her voice to paint a subtler portrait of Sesangs struggle. 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. group 4 theater it is the direction, performance and/or production design the roster ofnational artists (theater) honorata 'atang' dela rama. 12 (2004): 75106, at 9798. Makalawa na niyang ginawa ito at umaasa siyang magpatuloy habang ang mga nanonood sa dulaan ay hindi natututong magpakatino.. 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. 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. [3] 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. 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.. See Motoe Terami-Wada, Philippine Stage Performances During the Japanese Occupation, Philippine Studies 29, no. The Filipino dresss butterfly sleeves and abac fabric made of banana tree fibers (also called Manila hemp) were considered impractical for the modern workplace. 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. 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. Ruth A. Solie (Berkeley: University of California Press, 1993), 22558. 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. In the first line of the chorus, she prolongs the opening word halina (come hither), adding a subtle allure as she sings of a heart-stopping kiss and instructs her partner not to be timid in touching her. Her vocal training in a variety of styles including Italian opera combined well with the idiosyncrasies and theatricality of the Tagalog language. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. 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. 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. 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. Karen Henson (New York, NY: Cambridge University Press, 2016), 1123, at 20. The characteristic bitin or prolonged delivery of cadential phrase endings mentioned earlier, for example, echo vocal techniques heard in de la Ramas own recordings. 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.

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