Luzon : CARINOSA

SUBMITTED TO:
MR. JAIRUZ MENDOZA

SUBMITTED BY:
AVILA, VINCENT EARL B. LABABO, FREIDALYN P.
BALDEMESA, CHRISTOPHER JEARD S. MAGABO, SOFFI ROSEANNE M.
BAPTISTA, ALEXIS DIANNE T. MAGALLANES, JINCKY L.
CRUZ, LEILA JOY D. PABLO, HAZEL P.
DE GUZMAN, WYNONAH MEIGH N. ROMASANTA, JERIEL ANDREI M.
ENECILLO, RON DEVIN C. RINGOR, IRVIN J.
ESTIOLA, THERESA A. VALIENTE, KATHERINE LOUISE G.
 CARINOSA
ORIGIN
The Cariñosa is a popular folk dance that was
introduced to the country by the Spaniards when they
arrived in the 16th century. It belongs to the Maria Clara
suite of Philippine folk dances. These are so named in
honor of Maria Clara, who was the main character in Jose
Rizal’s novel “Noli Me Tangere,” (Don’t Touch Me), about
the colonization of the Philippines by the Spanish. In it,
Maria Clara is portrayed as a noble and loyal woman, who
after the publication of the novel in the 19th century
became the female symbol of virtue for Filipina women.

Cariñosa, meaning the loving or
affection in Spanish, is a Philippine dance of
Hispanic origin from the Maria Clara suite of
Philippine folk dances, where the fan or
handkerchief plays an instrumental role as
it places the couple in romance scenario.
Originally, the Cariñosa was danced
with Maria Clara dress and Barong Tagalog
for it is a Maria Clara Spanish Dance when it
was introduced. However, as the Filipino
people saw and imitated this dance, they
wore the Patadyong Kimona and Camisa de
Chino to reveal their nationalism to their
country and other steps were revised or
Filipinized but the music did not change at
all and reveals a Spanish Influence to the
Filipinos. As stated by the book of Francisca
Reyes – Aquino, dancers may wear
Balintawak Style (a native dress of tagalog
of
DESCRIPTION
of regions), Camisa (a white sleeve) or
Patadyong Kimona (a dress of the Visayan
of people) and for boys, a barong Tagalog
and colored pants. Because it is the national
dance, the dancers may wear any Filipino
costumes.
Female Cariñosa dancers often use
fans. If you’re the female dancer, you open
your fan by giving it a firm shake. Once it’s
open simply fan yourself to the music,
matching each downward movement of the
fan with one beat in the three – beat bar.
The handkerchief hide – and – seek is
a key element of cariñosa. Each partner
holds two corners of the handkerchief and
stand facing each other, holding the
handkerchief so it blocks the view of the
others.
 The music of Cariñosa, it is ¾ in the
rhythm like some of the Spanish dances.
The Philippine rondalla are playing the
music of the dance where it is an ensemble
or an orchestra of string instruments in the
s
Philippines similar to the Spanish musicians
in Spain that compromises bandurrias,
mandolins, guitar, basses, drums and
banjos. Mostly men are playing rondalla
instruments but women may also take part.

DANCE FIGURES IN CARIÑOSA

INTRODUCTION
Partners face the audience.
Three – Step turn right in the place
(cts. 1, 2, 3), and pause (cts. 1,2,3), hand in
Reverse “T” position, L arm high alternately . . . . . . . . . . . . . . . . . . . . . . . . . . 6 M

I.
Music A.
Partners face each other
(a) Three sway balance steps with a close
(R, L, R), arms in fourth position, R and L arm
high alternately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 M

(b) Three – step turn left in place, arms down

at sides (cts. 1, 2, 3). Bow to each other, hands in
front, parallel to each other at waist level, elbows
close to the waist, palms up (cts. 1, 2, 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
 (c) Repeat all (a – b), starting with L foot,
reverse position of arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 M

II.
Cross Hands
Music B.
Partners face each other
(a) Starting with the R foot, take three steps
forward to meet at center (cts. 1, 2, 3) step L
close to R (cts. 1, 2, 3), hands down at sides. . . . . . . . . . . . . . . . . . . . . . . . . . 2 M

(b) Join R hands, take one waltz step

sideward right (cts. 1, 2, 3), hands down at sides . . . . . . . . . . . . . . . . . . . . . . 1 M

(c) Release R hands and join L hands,

repeat (b) sideward left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 M
(d) Drop L hands, Repeat (b) and (c) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 M
(e) Starting with R foot, take three steps
forward to partner’s place passing each other
by the R shoulders (cts. 1, 2, 3), Turn left about
and step L close to R foot. Finish facing each
other (cts. 1, 2,3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M

(f) Repeat all (a – e) finishing in proper places . . . . . . . . . . . . . . . . . . . . . 8 M

III.
Palms Touching
Music A.
Partners face each other
(a) Repeat Figure II (a) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(b) Four touch steps in front, R and
L alternately. Hands in front parallel to each
Other at waist level elbows close to the waist.
With palms touching each other, Boy’s hands
down and Girl’s on top (cts. 1, 2, 3), reverse
position of hands every measure, i.e. Girl’s hands
under and over Boy’s hands alternately and vice - versa . . . . . . . . . . . . . . . 2 M
(c) Repeat Figure II (e) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(d) Repeat all (a – c) finishing in proper places . . . . . . . . . . . . . . . . . . . . . 8 M

IV.
Combing
Music B.
Partners face each other
(a) Repeat Figure II (a) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M

(b) Four waltz step sideward, R and L

alternately. Boy takes comb from his pocket and
makes motion with his R hand combing Girl’s
hair, left and right alternately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 M
(c) Repeat Figure II (e) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(d) Repeat all (a – c) Girl gets the comb from
partner, does the combing of Boy’s hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 M

V.
Powdering
Music A.
Partners face each other
(a) Repeat Figure II (a) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(b) Boy takes powder puff from his pocket.
Waltz sideward R, powdering gently Girl’s L
Cheek (cts. 1, 2, 3), while Girl takes one waltz
Step right in place, hands holding skirt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 M
(c) Repeat (b) three more times, powdering
R, L, R cheek alternately and both waltzing
L, R, L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 M
(d) Repeat Figure II (e) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(e) Repeat all (a – d) this time the Girl
does the motion of powdering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 M
 VI.
Hide and Seek with Handkerchief
Music B.
Partners face each other
(a) Repeat Figure I (a). Boy takes handkerchief
from pocket. Partners hold handkerchief at corners
in a perpendicular position between their faces with
the Girl’s hands on top at face level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(b) Partners take four touch steps in front, R and
L alternately. Invert the handkerchief at every
measure with the Boy’s hands on top first, the next
measure with the Girl’s hands on top. When own
hands are up look at partner’s face from below and
down look above the handkerchief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 M
(c) Girl releases handkerchief. Partners
Exchange places as in Figure II (e) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(d) Repeat all (a – c), finishing in proper places . . . . . . . . . . . . . . . . . . . . . 8 M

VII.
Kneeling
Music A.
Partners face each other
(a) Starting with the R foot, take three steps
forward to center (acts. 1, 2, 3). Boy kneels on L
while Girl passes around on right side of Boy to stand
behind him and faces the same direction as the Boy.
Partners place hands on waist (cts. 1, 2, 3) . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(b) Girl takes four waltz steps sideward, R and L
alternately holding Boy’s head gently at the same time
looking at the Boy over his R and L shoulder
alternately. Boy’s hands on waist, also looking at the
girl over his R and L shoulder alternately . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 M
(c) Girl turns right about and exchange places as in
Figure II (e). Finish facing each other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(d) Repeat all (a – c) but this time the Girl kneels
down in (a). Finish in proper places . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 M
 VIII.
Ballroom Waltz
Music B.
Partners face each other
(a) Repeat Figure II (a). Finish partners
holding in closed ballroom dance position . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(b) Waltz around in any direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 M
(c) Join inside hands, Girl turn inward (1 M), and
both bow to audience free hands in second position
(1 M) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M

(a) All take five sway balance step with a waltz,

right and left alternately, R arm in reverse “T”
position, L arm in second position. Reverse
position, of arms every two measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 M
(b) Waltz turn left in place, arms as in (a) reversing
position at every measure. Finish facing center of
square . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 M
(c) Four waltz step to turn right in place, arms
as in (b). Finish facing the center of the square . . . . . . . . . . . . . . . . . . . . . . . 4 M