Cariñosa

From Wikipedia, the free encyclopedia

Cariñosa (Spanish pronunciation: [kaɾiˈɲosa], meaning the loving or affectionate one) is a Philippine dance

of Hispanic origin from the Maria Clara suite of Philippine folk dances, where the fan or handkerchiefplays an

instrumental role as it places the couple in romance scenario.

[edit]History and Emergence as a national folk dance

The dance was originated in the Panay Islands on the Visayan Islands and it was introduced by the Spaniards during

their colonization of the Philippines. It is related to some of the Spanish dances like thebolero and

the Mexican dance Jarabe Tapatio or the Mexican Hat Dance.

[edit]Bicolano Cariñosa

According to the book of Francisca Reyes-Aquino, Philippine Folk Dances, Volume 2, there is a different version of

the dance in the region of Bicol. In the Bicol Region Carinosa, hide and seek movement is different. In the original

version, the dancers used the Fan and handkerchief as the way to do the hide and seek movement, in Bicol they

used two handkerchiefs holding the two corners of the handkerchief and doing the hide and seek movement as they

point their foot forward and their hands go upward together with their handkerchiefs following the movement. It is a

complicated step however it is still used in Bicol Region region during festivals and social gatherings.

[edit]Costume of Carinosa

Originally Carinosa was danced with Maria Clara dress and Barong Tagalog for it is a Maria Clara Spanish

Dance when it is introduced. However as the Filipino people saw and imitated this dance, they wore the patadyong

kimona and camisa de chino to reveal their love as a Filipino and other steps was revised to make it more Filipino but

the music did not change at all and reveals a Spanish Influence to theFilipinos. As listed by the book of F.R. Aquino

dancers may wear balintawak style (a native dress of the Tagalog 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 a

national dance, the dancers may wear any Filipino costumes.

[edit]Music

The music of Carinosa shows a great Spanish influence to the Filipinos. It is 3/4 in rhythm like some of

the Spanish dances. The Philippine Rondalla are playing this music of the dance where it is anensemble or

an orchestra of string instruments in the Philippines similar to the Spanish musicians in Spain that

comprises bandurrias, mandolins, guitar, basses, drums, and banjos. Mostly men are playing rondalla instruments

but women may also take part.

Subli

From Wikipedia, the free encyclopedia

Subli is the dance portion of a devotion performed in honor of the Mahal na Poong Santa Cruz, a large crucifix of anubing wood with

the face of the sun in silver at the center. The icon was discovered in the early decades of Spanish rule in what is now the town of

Alitagtag, Batangas. It is the patron of many towns in the area, notably the ancient town of Bauan, Batangas.

The subli consists of a long sequence of prayers in verse, songs, and dances, performed in a fixed sequence. The verse recounts

the first journey of the early manunubli ( subli performer)through the fields, hills, and rivers of Batangas in search of the miraculous

cross. Sections of verse are sung to a fixed punto or skeletal melody, which may be elaborated on in a different way by a different

subli troupe.

About five of these punto are used in a complete subli performance. These sections may be divided further into various fixed dance

patterns involving one, two or eight pairs of men and women. These numbers seem to be the norm in Bauan, although other towns

may have formations involving three pairs at a time. The stances, gestures, and movements of the male dancers are freewheeling

and dramatic, consisting of leaping, striking the ground with kalaste (wooden bamboo clappers held in both hands), and other

movements suggesting the martial arts. The women circle on half-toe, performing the talik (small refined gestures with wrists and

fingers), their fingers grazing the small-brimmed hats and alampay (triangular scarf worn loosely over the shoulder)that are the

essential parts of their costume. They dance and sing, to the rhythm beaten out by a stick on the tugtugan, a goblet-shaped, footed

drum of langka wood with a head made of iguana skin. -E.R. Mirano

According to Miguela "Mila" Maquimot, there once lived a couple in Dingin, Alitagtag. The husband was of the jealous type and a

drunkard. The wife was the one who mainly did the work, one of which was fetching water from a well to the water jar wherein they

drank water from. One time, the husband went home drunk and there was no water in the big water jar so the wife went to the well

to get some.

By the well was wood from which sprung water. And on that wood, the woman noticed a naaginging doll. Because of this, many

towns sought to get the wood but no one could lift it. So the people from Bauan, together with their parish priest, went to the well

and looked at the doll. They sang and danced the subli, and were gladdened when they were able to lift the wood. They carved the

wood into a saint. Their patron saint is Sta. Elena, but is referred to as Sta. Cruz.

The dancing of subli was passed on from their ancestors who were once subli dancers. They watched the performances of their

elders veteran in dancing the subli. Afterward, the youngsters would gather and dance bit by bit until they learn the dance steps.

And whenever they dance, they dance before their saint.

Ms. Maquimot was only 12 years old when she became a subli dancer. According to her, she and her co-dancers are no longer

struck by stage fright whenever they dance the subli because they are already used to performing before an audience. She and her

co-dancers were discovered on Batangas City Day, where they participated and won in a subli dance competition.
From then on, they have gone to many places to dance the subli, with the help of Ed Borbon, who was the organizer or manager of

the group. As director of cultural affairs in Batangas, Borbon would contact Ms. Maquimot whenever there are occasions for them to

dance in.

The group has danced at the Manila Hotel, Intramuros, Folk Arts Theater, Nayong Pilipino, Cultural Center of the Philippines, and

even in places outside the Philippines. The group of Miguela Maquimot at Abdon Cruzat have gone to Washington, D.C. from June

21 to July 5 as representatives of the Philippines.

The Philippines was the only place that performed as an independent nation. The USA was represented by Wisconsin, while the

Baltic nations were represented by Estonia, Latvia, at Lithuania.

During that period, they danced constantly. And on October 21, they danced again in Manila. They also dance in Batangas during

the senior citizens day, Batangas Day and women's organization day.

Aside from that, they also teach subli in various schools including Sta. Teresa College, Lyceum and PBMIT.

They have attained various awards such as a plaque of appreciation from the CCP, trophies and certificates. Even those whom they

have taught have also won first place in the subli competition back in July 25, 1995.

Many sulbi dancers begin learning subli at the age of 12, during the start of teen years when young girls and boys are not yet getting

married and are merely at the stage of courtship. Subli is not mainly a courtship tradition, but courtship has become an element of

the dance. The dance movements reflect the good actions and attitude that is expected of these young girls and boys as they grow

into adulthood.

According to Ms. Maquimot, subli is a religious vow in exchange for blessings, such as the passing of board examinations or the

healing of the sick.

Maglalatik (also called Magbabao) depicts a fight between the Moros and the Christians over

the latik (reduction left after the coconut milk has been boiled). The first two parts of the dance,
the Palipasan and the Baligtaran, show the heated encounter between the two groups. The last two parts,
thePaseo and the Sayaw Escaramusa, show their reconciliation. Those who represent the Moros wear
red trousers and those who represent the Christians wear blue trousers. Circular coconut shells are
attached to each dancer's back at the waist, and to their breasts and knees. Dancers also hold triangular
formed coconut shells in each hand.

This dance originated in Biñan, Laguna. During the night of the town fiesta of Biñan, they dance the
Maglalatik in the religious procession as it moves along the streets. They perform the dance as an
offering to the patron saint of farmers, San Isidro de Labrador.

Mazurka Boholana is a Spanish-inspired ballroom dance from the Bohol province of the Philippines. The country was under
the rule of Spain for more than three hundred years, during which time local culture was markedly influenced. Although the
mazurka is the Polish national dance, it was wildly popular  throughout Europe in the 19th century and even in colonized lands
overseas. The Philippine dance is ordinarily performed by men and women partners. Philippine dances derived from Spanish
influences, such as the Mazurka Boholana,  are classified as  Sayawing Maria Clara (Maria Clara Dances). Maria
Clara is the main female character in the Spanish-era novel Noli Me Tangere, written by Filipino national hero Jose
Rizal. Maria Clara also refers to a women's style of clothing popular during Spanish times, which is worn as traditional
Filipino costume even today.  Filipina performers of dances like the Mazurka Boholana each wear a Maria Clara.

Pandanggo is a Philippine folk dance which has become popular in the rural areas of the Philippines. The dance

evolved from Fandango, a Spanish folk dance, which arrived in the Philippines during the Hispanic period. This

dance, together with the Jota, became popular among the illustrados or the upper class and later adapted among the

local communities. In the early 18th century, any dance that is considered jovial and lively was called Pandanggo.

There are many versions of this dance and each locality has its own version. Local dancers have many ways of doing

the Pandanggo, but there is one thing in common between different versions: they have gay and sprightly figures. It

may be danced at any social gathering and is usually accompanied by clapping. In some places, the musicians do

not stop playing until four to five couples have danced, one after the other. When one couple tires, another takes its

place until there are no more who want to dance. The musicians play faster and faster after each repetition until the

dancers are exhausted.

Two of the most popular versions of Pandanggo, as a performing art, are the Pandanggo sa Ilaw from Mindoro,

and Oasioas. Another Philippine folk dance, Carinosa, has Pandanggo as its base dance. Pandanggo is still danced

by many people but mostly in religious rituals and processions such as the Pandangguhan sa Pasig, during the

procession of St. Martha, and the Sayaw sa Obando. While Fandango in Spain was superseded by its modern

version, the Flamenco, it has evolved into a popular folk dance, and as a ritual dance in many religious processions in

the Philippines.

[1

Pangalay (also known as Daling-Daling or Mengalai in Sabah) in is the traditional “fingernail” dance of the Tausūg people of

the Sulu Archipelago and Sabah.[1] This dance is the most distinctively Asian of all the Southern Philippine dances because
dancers must have dexterity and flexibility of the shoulders, elbows, and wrists [2] – movements that strongly resemble those of
“kontaw silat,” a martial art common in the Malay Archipelago. The Pangalay is performed mainly during weddings or other
festive events[1]. The male equivalent of the Pangalay is the Pangasik and features more martial movements, while a pangalay
that features both a male and female dancer is called Pangiluk.

The original concept of the Pangalay is based on the pre-Islamic Buddhist concept of male and female celestial angels
(Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari) common as characters in other Southeast Asian dances.

Neighboring Samal and Bajau peoples call this type of dance, Umaral or Igal, and they sometimes use bamboo castanets as
substitutes for long fingernails.[2]