Maria Clara Suite

updated 01-Jul-2002 Home The coming of the Spaniards in the 16th century brought a new influence in Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European cultural ideas spread and the Filipinos adapted and blended to meet the local conditions. These dances reached their zenith in popularity around the turn of the century, particularly among urban Filipinos. They are so named in honor of the legendary Maria Clara, who remains a symbol of the virtues and nobility of the Filipina woman. Maria Clara was the chief female character of Jose Rizal's Noli Me Tangere. Displaying a very strong Spanish influence, these dances were, nonetheless, "Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria Clara dress and barong tagalog, an embroidered longsleeve shirt made of pineapple fiber.

Alcamfor
(ahl-kahm-FOHR) From Leyte comes this couples dance in which the girl holds a handkerchief laced with camphor oil, a substance which supposedly induces romance.

Andaluz
(ahn-dah-LOOHS) Also known as Paseo de Iloilo, for its province of origin, this is one of the most sophisticated courtship and flirtation dances of the Spanish era. The gentlemen compete among each other to win the heart of the dalaga, or young lady, by exemplifying chivalry, grace, and confidence.

Aray
MIDI File (aray.mid) (ah-RAHY) A dance whose words are sung in "Chabacano-ermitense," a hybrid of Spanish that was only spoken in the Ermita district before the turn of the century and today is extinct. The dance itself is a flirtatious one that involves graceful use of the pauelo, or shawl, and tambourines. Aray means "ouch" in Tagalog.

Balse
(BAHL-seh) Derived from the Spanish "valse" (waltz), this dance was popular in Marikina, Rizal province,

during the Spanish times. Balse was performed after the lutrina (a religious procession), and the music that accompanied the dancers was played by the musikong bungbong (musicians using instruments made of bamboo).

Cariosa
MIDI File (carinosa.mid) (kah-reehn-YOH-sah) This flirtatious dance is known throughout the Philippines. Cariosa means affectionate, lovable, or amiable. With a fan or handkerchief, the dancers go through hide-and-seek movements and other flirting acts expressing tender feelings for one another. There are many versions of this dance, but the hide-and-seek movements are common in all.

Chotis
(CHOH-tees) The Chotis (or "Shotis") was one of the ballroom dances learned by the Filipinos from the early European settlers. This dance, from Camarines Sur, has been adapted by the Bicolano people and is characterized by a brush-step-hop movement.

Escopiton Malandog
(ehs-koh-PEEH-tohn-mah-LAHN-dohg) According to legend, two boys named Esco and Piton introduced this dance during the inauguration of the founding of San Jose de Buenavista. Eventually the dance was called Escopiton. This beautiful dance originated from Malandog, a barrio of Hamtic in Antique.

Estudiantina
MIDI File (estudia.mid) (ehs-tooh-deeh-ahn-TEEH-nah) A very lively and gay dance. During the old days, this dance was a favorite in social gatherings and was performed by the estudiantinas, women who were students of private schools and colleges in Manila. They are seen holding a book in one hand throughout the dance.

Habanera
Audio sample (habanera.wav) (hah-bah-NEH-rah) A wedding party dance which originated in the town of Botolan in the Zambales Province. Typical sequences include the procession of the bride and groom's parents, lineup of the bridesmaids and groomsmen upstage, and a solo featuring the wedding couple.

Imunan
(eeh-MOOH-nahn) A courtship dance of Ilokano origin. A beauty enters for an afternoon promenade with her suitors. At the end of the dance, the lovable and charming lady cannot select from any of her suitors.

La Jota
(lah-HOH-tah) The jota encompasses a variety of Spanish-influenced dances accompanied by the use of bamboo castanets, held loosely and unstrung. There are many forms of jota in the Philippines whose names are derived from their regions of origin. A common progression in the jota is a quick & lively verse, followed by a slow bridge, and ending with a verse in the same lively tempo as in the beginning.

Jota Espaola
Highlighted by castanets, abanicos, and tambourines.

Jota Gumaquea
Once very popular among the well-heeled families of Gumaca, Tayabas (now Quezon). A wellknown local musician at the time, Seor Herminigildo Omana, introduced this dance. It became popular with the young people and was handed down between generations.

Jota Manilea (Manila)

It originated in the capital city around the 19th century.

Jota Moncadea (Moncada, Tarlac)

Audio sample (moncaden.wav) A combination of Spanish and Ilocano dance steps and music.

Jota Pangasinana (Pangasinan province)

(pahng-gah-seeh-NAH-nah) Demonstrates the flair of stomping feet culminating with the cry of "Ol!"

Jota de Paragua (Cuyo, Palawan)

(pah-RAHG-wah) Displays a Castillan influence with Zapateados (footwork), Lobrados (arms), and Sevillana style

of dress. The ladies wave their mantn, or decorative shawl, while the gentlemen keep brisk pace with bamboo castanets.

Jovencita
(hoh-vehn-SEEH-tah) A dance typical of a woman's debut or even her wedding. The accompanying love ballad was written by Maestro Nitoy Gonzales when he was courting Jovita Friese, who then choreographed the graceful and beautiful habanera dance that accompanies it. Jovencita means "young lady" in Spanish.

Lanceros de Negros
(lahn-SEH-rohs-deh-NEHG-rohs) During the Spanish time, this dance was one of the popular quadrille dances in the Philippines. It is similar to the stately Rigodon de Honor and is danced in important social affairs to formally open a big ball. One version from Silay, Negros Occidental, is performed in a lengthwise formation.

Mazurka Boholana
(mah-ZOOR-kah-boh-hoh-LAH-nah) This dance is a traditional ballroom dance popular in Bohol and in other provinces during the Spanish times.

Panderetas
(pahn-deh-REH-tahs) This dance, named after the jingle-less tambourines carried by the females, originates from Tanza, Iloilo. From December 16 to January 6, a group of people in the Visayan regions go from house to house to sing Christmas called "Daigon." In some regions the song is usually followed by some dances, and "Las Panderetas" is one of those dances.

Paseo de Iloilo
(pah-SEH-oh-deh-eeh-loh-EEH-loh) see Andaluz

Paso Doble
(PAH-so-DOH-bleh) Meaning "two-step," the name is actually a misnomer, as it is an ordinary walking or marching

step called the "one-step." The term refers to the stirring marching music played as background music at bullfights and fiestas throughout Spain.

Polkabal
MIDI file (polkabal.mid) (POHL-kah-bahl) A dance influenced by two distinct European styles: polka and valse.

Putritos
(pooh-TREEH-tohs) A festival dance from Atimonan, Tayabas (now Quezon province), featuring a couple's flirtatious and playful interaction. It is danced in alternating slow and fast waltz tempos and culminates in a vivid twirling sequence by the girl.

Rigodon de Honor
(reeh-goh-DOHN-deh-oh-NOHR) This elegant dance was brought to the Philippines by the Filipinos who returned from their travels abroad during the Spanish era. This dance takes its name from its opening performances at formal affairs such as the President's Inaugural Ball. Members of government, including the President and First Lady, diplomatic corps, and other state officials usually participate in the Rigodon. Traditionally, a ballroom waltz dance would follow the Rigodon.

Sabalan Lulay
(sah-BAH-lahn-LOOH-lie) The dance "Lulay," like the kuratsa, jota, pandango, and polka, is performed in many parts of the Philippines. This dance originated from Malamig barrio of the town Gloria, Oriental Mindoro. It is part of a wedding ritual which has four phases: sabalan, pamalaye, sabog and dapit. The dance begins with the gentleman dancing around his partner as she eventually gives in to dancing with him.

Saguin-Saguin
(SAH-geehn-SAH-geehn) From the Bicol region comes this courtship dance which tells the story of a lumberyard owner, who threw a dance for his workers. A girl who was related to one of the workers was offered to the owner as a dance partner. He took to her very kindly, and eventually serenaded her.

Timawa

(tih-MAH-wah) Meaning "forsaken lover," Timawa is a courtship dance, usually performed by women, and is originated in Lamot, a barrio in Capiz. The story recounts of a man and a woman, both timawas, who met at a social gathering and became acquainted with each other. In the course of their conversation, they discovered that they both had the same misfortune; therefore, turning to each other for sympathy and comfort.

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IDAW - LUZON REGION

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BANGA - LUZON REGION

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IDUDU - LUZON REGION

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RAGSAKSAKAN

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Directory of Filipino Dance and Cultural Expression Around the World

SINGKAL - MINDANAO REGION

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KINI KINI - MINDANAO REGION

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PANGALAY - MINDANAO REGION

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ASIK - MINDANAO

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Filipino Folk Dance Group in USA, Canada, Australia

Filipino Folk Dance Group in USA, Canada, Australia

Filipino Folk Dance

Filipino Folk Dance

SAYAW SA BANKO - VISAYAS REGION

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TINKLING - VISAYAS REGION

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SUBLI - VISAYAS REGION

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MAGLALATIK - VISAYAS REGION

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ISLAND FIRE EATERS

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ISLAND FIRE BALLERS

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INTRODUCTION AND DANCES

Countries in the world have their own cultures made more colorful, beautiful and vibrant because of Folk Dances that are reflection of who they are. In the east, the Chinese have their symbolic Dragon Dance, the Japanese have the ancestral dance Bon Odori. In the west the Americans have their Square Dance. On the other hand, the Philippines will not be left behind. "The Pearl of The Orient" boast of a varitey of Filipino Folk Dances. The Philippines consist of 7107 islands, and is broken down in three groups of islands. The Luzon, Mindano, and Visayas. Each of these regions contain different languages,history, regligon, and traditions. With each region having different influence in thier arts, crafts, and ancestorical dances. Lets take a trip through each region and explore the different styles, costumes, Dances and Talents from Each Region.... As we explore each of the regions and styles, please remember alot of these Cultural and Folk dances represents hardships and daily back breaking tasks, that has turned into a art form. Many of the dances you will read about here were actuall activities or chores that the Filipino endured to survive the poor economy and state of the nation.....

Traditions and Hertitage - Luzon Region

We Shall Never Forget our Heritage LUZON -- Consisting of the tribes such as Ifugao, Benquet, Kalinga, Bontoc, Apayo, Kalinga, sometimes these are call Igorot. " But sometimes that is considered degrading ." Cordillerea name also used for some parts the Luzon Region... Northern most region of the Philippines, Luzon gets its Cultural influence from Hindu-Buddist, Spanish and many ethnic regilous tribes. All with differences and beliefs. But in all the Cultural and Folk Dances from this region represents all different factions in one way or the other. Dances of Luzon ( see side bar for pictures of many of the dances ) * Dance: Idaw

This dance sometimes has many names and different versions. Most common is this dance depicts the hunting ritual performed before a tribal war. The tribes men would go out and look up and watch for the scared Idaw bird. Which is said to lead the tribe to victory. Also look at the clothing, Philippines being a very hot climate, plus the use of as little material as possible, the traditional clothing was not made to cover much of the body.... * Dance : Banga This dance displays the Igorot women on their way to the river to fetch the daily water supply for thier familys. It shows the skill and strength of the women as they would carry heavy laiden clay pots (Banga) full of water. Their grace and agility while balancing the heavy pots, sometimes stacks 5 high, is a testiment of the Filipino and how hardships become a art form and talent. As a young girl you would start with only one pot. Of course as you become older and more experienced, along with the fact that you could provide more water for your family in one trip. Pots could be stacked as high as 5 or 6. The more pots you could carry showed your skill and also you standing amoung the women of that area. They would all gather and march to the river each day, singing a native song which is represented by the flute and banging of bamboo on iron pots in the dance...... * Dance : Idudu The family is the basic structure of family life among the Itneg / Tinggian poeple. The caring for the Children is shared by both the mother and father. While the men are clearing the fields, breaking the soil with bamboo and their feet, the women watch the children. Soon as the men are done, they take care of the children while the women do back breaking work. You can see in the dance how the women will take the bamboo baskets in a shaking fashion like drying the rice, while the men are going in circles in background like they are toiling the land. Then you will see the women put down the baskets fold the cloth into a baby while the husband stands aside. Then the women will turn over the baby to the husband, pick up the bamboo and start toiling the land while the men hold and cradle the babys......... * Dance : Ragsaksakan The word means " Merriment". This dance would be performed after a successful headhunt and also for a peace pact between waring tribles. The colorful hand woven blankets " blankets of life" are worn around the neck while baskets to carry produce or rice are worn upon the head. Some versions of this dance use the " Banga " instead of the basket.

Pride and Honor - Mindanao Region

Filipino is Worth Dieing For MINDANAO -- This is the southern most region of The Philippines. Being the second largest island in the Philippines, its Culture consists of mostly Muslium or " Moro " people, also composed of other ethnic groups such as the Maranao, Tausug, Banguingui, and indigenous tribes know as Lumad. You will see alot of Arabian, and Middle Eastern influence in thier costumes and dances. Dances of Mindanao - ( See side bar for pictures and more info) * Dance : Singkil Sinkil dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the "Darangan" of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies or nymph of the forest. The rhythmic clapping of criss-crossed bamboo poles represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers wearing solemn faces and maintaining a dignified pose being dancing at a slow pace which soon progresses to a faster tempo skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. The dancers weave expertly through crisscrossed bamboos. * Dance : Kini Kini Kini means the Royal Walk. Maranao women performed this dance with scarves. The beauty of the scarve and the talent and grace in which it is displayed. Shows their elite social upbringing. * Dance : Pangalay A pangalay native to the Badjao, sometimes known as the "Sea Gypsies." Pangalay is a dance that emphasizes the agility of the upper body. The rhythmic bounce of the shoulder with simultaneous alternating waving of arms are the basic movement of this dance. The pangalay is

commonly performed at weddings and other social gatherings. You will also see some parts of the Sinkgil in this dance also. Another part of this dance is also called the Muslium four Bamboos. * Dance : Asik This is performed by a solo madien, adorned with fine beads and make up, long head scarf. She would dance to win the favor of her Sultan master. Many time the girls would dance to win the hearts of her master or to make up for a wrong she had done. She would give her whole heart and soul into this performance to soften the heart of her master to accept her...

LOVE OF LIFE AND COUNTRY - VISAYAS REGION

Live Long, Live Happy, Die Proud VISAYAS -- Being the Central Island of The Philippines, Visayas is also broken down into three sections. Central , Eastern, Western. Consisting of Austronesians, Negritos, these we Animist Tribal Group. Many others tribes from around surrounding island would come after the downfall or break up of thier tribes. Visayas became a melting pot for many different Tribes and Cultural backgrouds. You will find Arbian, Spanish, and some Western influences in the dances of this region. You will see that the dances of the Visayas are more upbeat and exciting, not so much in Drama and tribal meanings as other regions. Visayas Dances - ( see pictures in the side bar ) * Dance : Sayaw Sa Banko This dance is native to the barrio of Pangapisan, Lingayen, Pangasinan, and demands skill from its performers who must dance on top of a bench roughly six inches wide.

* Dance : Tinkling Tinnikling is considered the national folkdance with a pair of dancers hopping between two bamboo poles held just above the ground and struck together in time to music. Originated from Leyte Province, this dance is in fact a mimic movement of tikling birds hopping over trees, grass stems or over bamboo traps set by farmers. Dancers perform this dance with remarkable grace and speed jumping between bamboo poles. * Dance : Subli The term subli is from two tagalog words subsub meaning falling on head and bali, which means broken. Hence, the dancers appear to be lame and crooked throughout the dance. This version is originally a ritual dance of the natives of Bauan, Batangas, which is shown during fiestas as a ceremonial worship dance to the towns icon, the holy cross * Dance : Maglalatik Originally performed in Binan, Laguna as a mock-war dance that demonstrates a fight between the Moros and the Christians over the prized latik or coconut meat during the Spanish rule, this dance is also shown to pay tribute to the towns patron saint, San Isidro Labrador. It has a fourpart performance such as the palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa- the reconciliation. Moro dancers wear read trousers while the Christian dancers show up in blue. All dancers are male; with harnesses of coconut shells attached on their chests, backs, thighs and hips