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Samahang Kapatid Dance Repertoire |
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From Noel’s Philippine Folkdance Glossary
Maria Clara/Spanish
Influence Dance 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 long-sleeve shirt made of pineapple fiber. Perhaps the best known and closest to the
Filipino heart are the dances from the rural Christian lowlands: a country
blessed with so much beauty. To the Filipinos, these dances illustrate the
fiesta spirit and demonstrate a love of life. They express a joy in work, a
love for music, and pleasure in the simplicities of life. Typical attire in
the Rural Suite include the colorful balintawak and patadyong skirts for the
women, and camisa de chino and colored trousers for the men. Almost one million Filipinos are Muslims who
reside primarily in the southern island of Mindanao and the Sulu Archipelago.
By the end of the 12th century, traders and settlers from the Malay Peninsula
and Borneo introduced Islamic faith to the islands. The Muslims in the
Philippines, also known as Moros, were able to resist Spanish conquest. Thus,
they preserved the Islamic lifestyle that markedly differs from the majority
of the Philippine population. The ethno-linguistic groups who are primarily
considered Muslim are the Ma Almost one million Filipinos are Muslims who reside primarily in the
southern island of Mindanao and the Sulu Archipelago. By the end of the 12th
century, traders and settlers from the Malay Peninsula and Borneo introduced
Islamic faith to the islands. The Muslims in the Philippines, also known as
Moros, were able to resist Spanish conquest. Thus, they preserved the Islamic
lifestyle that markedly differs from the majority of the Philippine
population. The ethno-linguistic groups who are primarily considered Muslim
are the Maranao, Maguindanao, Samal, and Tausug. The dances are characterized by vivid colors and
rhythmic movements which reflect the influence of Arabian and Indo-Malaysian
cultures. The mountainous Central Cordillera
region of Northern Luzon is also known by the term "Philippine
Skyland." Inhabiting this rugged terrain are six ethno-linguistic tribes
known as the Ibaloy, Kankanay, Ifugao, Kalinga, Apayao, and Bontoc. They prefer to be called by their respective tribal
names rather than the collective term Igorot, which was first used by the Spaniards and later by
Christian lowlanders. These tribes were generally unfazed by Spanish
colonization. This homogeneous group is recognized by their common
socio-cultural traits. They hold common religious beliefs, generally
nature-related, and make propitiatory offerings to anitos, or household gods. Among these
people of the Cordillera, dance continues to be an expression of community
life that animates the various rituals and ceremonies. It serves for
self-edification of the performers and entertainment for the spectators. They
dance to appease their ancestors and gods to cure ailments, to insure
successful war-mating activities,or to ward off bad luck or natural
calamities. They dance to congregate and socialize, for general welfare and
recreation, and as an outlet for repressed feeling. They also dance to insure
bountiful harvests, favorable weather, and to mark milestones in the cycle of
life.
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