{"title":"Creative Authorship and the Filipina Diva Atang de la Rama","authors":"I. K. Miranda","doi":"10.1080/01411896.2021.1992595","DOIUrl":null,"url":null,"abstract":"ABSTRACT This essay focuses on the career of Honorata “Atang” de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Through sound recordings, reviews, photos, and her own writings, I amplify de la Rama’s musical and metaphorical voice to address the important role of women in Philippine music and popular culture. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. De la Rama’s celebrity status also carried through the visual aspects of her public persona on and off stage, cultivating an image that was both modern and traditional, Filipino and cosmopolitan. Such self-fashioning carried political significance, especially during the resurgence of nationalism and in the emerging women’s movement during the 1920s and 1930s in the Philippines.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF MUSICOLOGICAL RESEARCH","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01411896.2021.1992595","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT This essay focuses on the career of Honorata “Atang” de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Through sound recordings, reviews, photos, and her own writings, I amplify de la Rama’s musical and metaphorical voice to address the important role of women in Philippine music and popular culture. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. De la Rama’s celebrity status also carried through the visual aspects of her public persona on and off stage, cultivating an image that was both modern and traditional, Filipino and cosmopolitan. Such self-fashioning carried political significance, especially during the resurgence of nationalism and in the emerging women’s movement during the 1920s and 1930s in the Philippines.
摘要本文主要研究美国殖民时期菲律宾流行的舞剧和杂耍舞台上的奥诺拉塔·“阿唐”·德拉拉玛的职业生涯。通过录音、评论、照片和她自己的作品，我放大了de la Rama的音乐和隐喻的声音，以解决女性在菲律宾音乐和流行文化中的重要作用。她的作品强调了表演者的角色，作为一个同样重要的创造性作者，归因于剧作家和作曲家。德拉玛的名人地位也通过她在舞台内外的公众形象体现出来，塑造了一个既现代又传统，既菲律宾又世界的形象。这种自我塑造具有政治意义，特别是在民族主义复兴和20世纪二三十年代菲律宾新兴的妇女运动期间。
期刊介绍：
The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
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