atang dela rama awards atang dela rama awards

Proseguid, vuestro viaje, para dar a conocer a otras naciones y a los blancos nuestra capacidad para toda clase de menesteres, y que tambin tenemos artistas de quienes podemos enorgullecernos!. See Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. 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. 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. 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. 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. In his biography of Hernandez, Jun Cruz Reyes tells the story of two talented and well-known artists who were brought together on the stages of Tagalog poetry and drama. The dalagang Filipina figured prominently in Amorsolos works throughout his career and had become, as historian Mina Roces argues, the romanticized image of the Filipino woman that most Filipino men in the 1920s wanted to maintain, especially at the time when the womens suffrage movement was gaining traction in the Philippines.Footnote58 Photographs from the 1920s and 1930s display de la Ramas penchant for combining traditional and modern fashion trends, actively contradicting the nostalgic and romanticized image of the Filipina. 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. 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). 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. She is hailed as the Queen of Kundiman in 1979 at the tender age of 79. 35 El Declinar del Teatro Nativo, La Vanguardia (March 5, 1932). Trivia (7) As Queen of Zarzuela, she starred in more than 50 zarzuelas. Anvil Publishing.2004. In Dalagang Bukid, de la Rama played the part of Angelita, a young girl working as a flower vendor who embodied the virtuous Filipina amidst the backdrop of Manilas bustling nightlife. 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. On January 11, 1902, Honorata "Atang" de la Rama, National Artist for theater and music, was born in Pandacan, Manila. Atang dela Rama was a graduate of BS Pharmacy in 1922. : Defining The Filipino Woman in Colonial Philippines, in Womens Suffrage in Asia: Gender, Nationalism and Democracy, eds. 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. 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. She was an actress, known for Dalagang bukid (1919), Mahiwagang binibini: Ang kiri (1939) and Oriental Blood (1930). 3 (1993): 32043, at 331. 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. 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. Wherever I go, in the course of my professional tours and engagements, I always wear my saya long and the sleeves of my camisa as ample as they should be like the gauzy wings of a butterfly, and it has never failed to elicit sighs of admiration among women of other countries I have visited. At this same time, Manilas moralists and staunch nationalists accused the bodabil stage of peddling in vulgarity and criticized its performance of American jazz. Original text: Ay naku! I am not arguing that de la Ramas creative power and influence relies on her performance alone and that her work as an artist occludes her output as a writer: de la Rama left a rich and resonant archive of her original drafts of short stories, comedic sketches, personal essays, and sarsuwela librettos, evidence of a thriving intellectual life that accompanied her career in performance.Footnote73 Instead, what I am suggesting is that the artist herself has the authority over her own performancein all its aural and visual manifestationsfleshing out alternative ways of thinking about and listening to a musical and theatrical work. 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. 61 Roces, Is the Suffragist an American Colonial Construct, 45. 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. 37 See Francisco Santiago, The Development of Music in the Philippine Islands (Manila: The Institute of Pacific Relations, 1931), 16. Career By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. Cultural Center of the Philippines. 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). Figure 2. Original text: Atang, sta es la primera vez desde hace no s cuanto tiempo que oigo un kundiman nuestro. 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). Standard historical accounts often point to Severino Reyess shift in his writing career to become a journalist and editor in the early 1920s as the beginning of sarsuwelas decline, just as vaudeville and film were becoming more popular in the Philippines. 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. 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. (Manila: Paredes, 1923). I will never permit myself to be caught dead in a knee-length skirt, without the customary panuelo, and without camisa sleeves that look like the wings of a newly hatched grasshopper.Footnote63. Courtesy of Adlai Lara. 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. Film historian Nick Deocampo remarks how her debut on the sarsuwela stage as dalagang bukid convinced the films director, Jose Nepomuceno, to cast her. Si Ka Amado, labor leader, konsehal, makata, manunulat. 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 . 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. Registered in England & Wales No. For dance: Francisca Aquino (1973), Leonor Goquingco (1976), Lucrecia Urtula (1988), and Alice Reyes (2014); for music: Jovita Fuentes (1976), Lucrecia Kasilag (1988), and Andrea Veneracion (1999); for theater: Daisy Avellana (1999) and Amelia Lapea-Bonifacio (2018). 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. De la Rama as dalagang bukid on the program cover for the December 7, 1919 benefit performance. 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). I would also like to thank Journal of Musicological Research editor Hilary Poriss and the journals anonymous reviewers for their invaluable feedback. Deflecting the advances of this suitor, Angelita elopes with her childhood sweetheart, the law student Cipriano. 49 Enriquez, Appropriation of Colonial Broadcasting, 10910. 2 (2010): 35988, at 361. De la Ramas 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. The other women awardees largely belonged to performing arts categories. 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. 1 (1981): 7788, at 83. 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. See Lacnico-Buenaventura, The Theater in Manila, 88. [3] 43 Peter Keppy, Tales of the Southeast Asian Jazz Age, 80. During the American. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 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. On September 4, 1915, a lengthy article on the foxtrot by American ballroom dancer Joan Sawyer appeared in the Manila weekly journal The Independent, complete with detailed instructions and suggestions for which music should accompany the dance.Footnote22 Incorporating a foxtrot in the sarsuwela also points to a standard practice of using globally circulating popular musics in sarsuwela scores. By the age of 7, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina. Academics echoed similar critiques. De la Rama on the front cover of The Womans Outlook (July 1926 Issue). (n.d.). The second in the list is Punyal ni Rosa with 366 performances. Born in Pandacan, Manila on January 11, 1905, she was already starring in Spanish zarzuelas such as Mascota, Sueo de un Vals, and Marina by the age of five. 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. This and all other translations are mine. 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. 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. Perhaps it is only theater royalty who could get away with schooling their public. 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. Doreen Fernandez and Jonathan Chua (Manila: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2000), 20721, at 212. 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. 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. 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. In the dramas final act, the playwright imagines a Philippines in a state of regression under a female-led government. Atang Dela Rama on IMDb: Awards, nominations, and wins. Rejecting the idea that their campaign grew out of an American cultural construction of the feminine, Filipina suffragists took to what they called panuelo activism in their use of the terno and reasserted the idea that the womens suffrage was, indeed, a Filipino project.Footnote62. Tamang sagot sa tanong: MUSIC please help me() - studystoph.com 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. 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 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. Angelita and Cipriano are the main protagonists in the sarsuwela. Following the Second World War, de la Rama continued to star in film and she hosted her own radio show in the 1950s.Footnote70 In the 1960s and 1970s, moreover, she contributed significantly to the restaging of prewar sarsuwelas and she availed herself freely as a resource for younger performers and theater companies. By the age of 7 she was already starring in Spanish zarzuelas such as Mascota Sueo de un Vals and Marina. 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. 19 Doreen Fernandez, Zarzuela to Sarswela: Indigenization and Transformation, Philippine Studies 41, no. 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.. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. 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. 63 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, 5. 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). 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. The solo Nabasag ang Banga (The Clay Jar Broke) from the first act provides a description of Angelitas character. 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. Copies of her comedy sketches includes a short skit entitled Lalake!!! 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]. Some of the notable composers of this early sarsuwela repertoire were Jos Estella, Juan de Sahagun Hernandez, and Fulgencio Tolentino. In the 1930s, de la Rama was on the roster of artists in the KZIB radio station founded by the American department store owner Isaac Beck. Entertainers and the Making of the Pacific Circuit, 1850-1890, (PhD dissertation, University of Michigan, 2010), 1516. 3099067 De la Rama.Footnote2. 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. 58 Roces, Is the Suffragist an American Colonial Construct, 3233. No potential conflict of interest was reported by the author(s). 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. Sawyer also campaigned for womens suffrage during this period and, as dance and theater historian Julie Malnig argues, linked the rhetoric of physical and psychological progress to dance and to womens new-found freedoms. See Julie Malnig, Two-Stepping to Glory: Social Dance and the Rhetoric of Social Mobility, Etnofoor 10, no. 59 Gonzales et. 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. 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]. 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). 31 Franco Vera Reyes, Taliba (April 26, 1930). The Philippine-American war officially ended in 1902, while pockets of armed resistance continued in various provinces and locales outside of Manila at least until 1913. Queen of the Kundiman and. 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. 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. 1 Notes on terminology: I use Tagalog primarily to mean the language, while I use Filipino as descriptor for the people and Philippine culture more broadly. In addressing performance as a source of creative power, I follow Carolyn Abbates theorization of how a musical work exists only as it is given phenomenal reality by its performers.Footnote7 It is through the artists voice and presence that the sarsuwelas texts and music come off the page and reach the audiences senses. 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. 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. 3 Written histories of Spanish zarzuela in the Philippines often start with an account of the staging of Francisco Barbieris Jugar con Fuego, sometime between 1878 and 1879 by Dario Cspedes, who managed a zarzuela company in Spain prior to his arrival in Manila. The centennial of local movies is celebrated this year, 2019.. 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. A sense of this interpretation can be gleaned from her recording of this pivotal song released years following the sarsuwelas premiere.Footnote17 Listening to the recording of Nabasag ang Banga, the power of de la Ramas voice is defined less by its intensity and more by the preciseness of her pitch and clarity of her tone. Atang Dela Rama is a national artist for theater and music queen of kundiman. 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. Atang became the very first actress in the very first Tagalog film when she essayed the same role in the sarsuela's film version. This was a practice employed by composers at the turn of the twentieth century who liberally used dance forms such as the waltz, habanera, tango, mazurka, and polka. 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. 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. 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. 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. 44 Schenker, Empire of Syncopation, 419. 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. Atang dela Rama is billed 'The First Star of Philippine Cinema' as she portrayed the title role in Dalagang Bukid in 1919. [1] Atang de la Rama was born in Pandacan, Manila on January 11, 1902. 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. Newspaper reviews between 1922 and 1925 remark on her performance of Tagalog song repertory, especially of kundiman songs, which contributed to her earning the moniker Queen of the Kundiman.Footnote39 While the kundiman has a long history that dates back to the early nineteenth century, it was during the 1920s that the genre became widely associated with its characteristic patriotic sentimentality and themes of national longing.Footnote40 Images of the ideal woman and the virtuous Filipina, often standing in as a symbol for the longed-for independent motherland, recur in many kundimans.