MODULE 13: Dances Adapted from Various European Influences and Other Western Influences- Maria Clara Dance

I.             Objectives:

At the end of the lesson, the students are expected to:

a. discuss Maria Clara Dance;

b. identify the different  Maria Clara Dances adapted from various European and other Western Influences and;

c. appreciate the beauty of the different Maria Clara Dances.

II.     Overview:

Maria Clara Dance is a mixture of Spanish gracefulness and customized native props, such as bamboo castanets and Asian fan. Maria Clara remains a symbol of the virtues and nobility of the Filipina woman. 

This topic deals about the Maria Clara Dances adapted from various European Influences and other Western Influences during the 16^th century when the Spaniards came into the Philippines.

III.    Learning Content:

During the 16^th century, when the Spaniards came into the Philippines, they brought a new influence in the Philippine life, 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 is the formal Maria Clara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple fiber.

·         Alcamfor(ahl-kahm-FOHR)
                From Leyte come 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(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 pañuelo, or shawl, and tambourines. Aray means "ouch" in Tagalog.

·         Cariñosa(kah-reehn-YOH-sah) 
                This flirtatious dance is known throughout the Philippines. Cariñosa 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.

·         Habanera(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.

·         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.

·         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.

·         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.

·         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.

·         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, bothtimawas, 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.