MARIANO, ZNYX ALELI J.

BS-FILIPINO 1

PHILIPPINE FOLF DANCE

Cariñosa
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 handkerchief plays an instrumental role as it places the couple
in romance scenario.
HISTORY
The dance originated in Panay Island in the Visayan Islands and was introduced by the
Spaniards during their colonization of the Philippines. It is related to some of the
Spanish dances like the bolero and the Mexican dance Jarabe Tapatio or the Mexican
Hat Dance.
COSTUME
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 theTagalog 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.
MUSIC
The music of Carinosa, 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 an ensemble 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.

Kuratsa
The Kuratsa is highly favored by the Visayan people especially the Waray people
of the Eastern Visayan region in the Philippines. Strictly speaking, The Kuratsa must be
done the amenudo-way; that is, only one couple dances it at a time. Believed to be a
Mexican import (supposedly from La Cucaracha dance typical to Monterrey region of
Mexico) - the Kuratsa is however, very different in the manner of execution to the
Mexican counterpart. Even the "basic" Kuratsa music is not based on Mexican or even
Spanish melodies but just bolero-inspired lilting music. A very interesting dance caught
up the eyes of the beholder.
Philippine dance researchers, however, point either to the Kigal and the Bikal as the
'ascendant' of the Kuratsa. The Kigal (spelled "Quigal" in early Spanish writings on
Samar culture and lifeways) is a sort battle-of-sexes couple dance that imitate mating
birds. The Kigal is in fact called by another name: Binanug or Kiglun (Kigalun?)
according to a 17th century Samarnon dictionary by Jesuit missionary to Samar, Fr.
Alcazar. It is interesting that banug is the Waray word for the 'hawk'.
HISTORY
The Kuratsa is believed to be a Mexican import (supposedly from La Cucaracha dance
typical to Monterrey region of Mexico) - the Kuratsa is however, very different in the
manner of execution than the Mexican counterpart. Even the "basic" Kuratsa music is
not based on Mexican or even Spanish melodies.

Philippine dance researchers, however, point either to the "Kigal" and the "Bikal" as the
'ascendant' of the Kuratsa. The Kigal (spelled "Quigal" in early Spanish writings on
Samar culture and lifeways) is a sort battle-of-sexes couple dance that imitate mating
birds. The Kigal is in fact called by another name: Binanug or Kiglun (Kigalun?) that's
according to a 17th century Samarnon dictionary by Jesuit missionary to Samar, Fr.
Alcazar. It is interesting that Banug uis the Waray word for the hawk.

The Bikal is rather believed to be the fore runner of the Waray Balitaw because of the
strict emphasis on "joust" of impromptu songs interspersed with dancing. The bikal is
survived by the Ismaylingay and many versions of this art is preserved by aging
"magsiriday" in Samar and to a lesser extent Leyte.

The Kigal dance step called 'sabay' is in fact very similar to the Kuratsa dance step
called 'dagit' or when more daring the 'sagparak'. Dagit means swoop while sagparak is
descriptive of a heated 'bulang' (cockfight). The block and chase portion of the Kuratsa
(called 'palanat') is never seen in the Mexican social dance La Cucaracha but is very
common among Samar 'amenudo' (or couple dances) like the Ismaylingay, Amoracion,
Alimukon, Kuradang and Pantomina.

Popular versions of this dance exist in Samar can be classified as the Kuratsa Menor
(the usual favorite) and the many versions of the daring Kuratsa Mayor. New genres of
Kuratsa evolved as a result of necessity, like-as the name implies- Kuratsa kanan
Kadam-an and a very funny Kuratsa nga Pinayungan appropriate for rainy days.
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Pandanggo sa Ilaw
The term ‘ pandanggo’ comes from the Spanish word ‘ fandango,’ which in
Portugal is also a common dance, which is defined by marking time with the use of
castanet clack, finger snapping, and triple-time rhythm stomping of the feet, a 3/4 time
dance. The sentence sa ilaw is Tagalog for “in light” and relates to the three oil lamps to
be balanced by a dancer— one on the head and one on each side on the back. The
name of the oil lamp is tinghoy. Candles are sometimes used in lenses instead of an oil
lamp. Pandanggo sa Ilaw is generally danced in couples, with traditional clothes for both
women and men.The individual performing this graceful dance is often referred to as
the’ pandanggera.’ Then the’ pandanggera’ dances holding three oil lamps called the’
tinghoy.’ This dance originates in Oriental, Mindoro.
Col. Antonio R. Buenaventura, a national artist for music and a Bulacan native,
composed the music to which the pandanggo sa ilaw is now frequently danced.
Sometime in the early 1930s he wrote the music while teaching at the University of the
Philippines ‘Conservatory of Music.
Pandanggo sa Ilaw is a waltz-style, playful folk dance that exhibits a distinctive fusion of
local and western indigenous dance types. Pandanggo sa Ilaw simulates fireflies at
dusk or dawn light and flight. It portrays a young man’s courtship to a maiden who
caught his interest.
Version
There is another version of this dance, and the dance is similar to the steps conducted
by the’ pandanggo’ singers. This other version of the dance is called’ Oasiwas’ and in
Lingayen in Pangasinan this dance has its roots. This provincial town is renowned for its
fishing industry and its pandanggo version is connected to the fishing industry. The
fishermen in this town will generally celebrate right after their excellent catch by drinking
wine and dancing, and swinging and circling on the dancers ‘hands with the lighted
lights. The dancers ‘swinging and circular movements gave the name’ Oasiwas’ which
is known as’ swinging’ in the local dialect.

Now the core of a popular festival in Oriental Mindoro is this traditional Philippine dance.
And the dance is now considered to be one of the rituals performed by the females to
send off and welcome the town’s fishermen.
In Oriental Mindoro, this festival is called the’ Pandang Gitab’ or the’ Festival of Lights’
with the dance at the middle of everything. After the now renowned folk dance called
the’ pandanggo sa ilaw’ and the’ dagitab’ or the flicker of light, this festival was invented
and created.
This festival, which is organized in Oriental Mindoro, is held every second week of
November, as part of the celebration of Oriental Mindoro’s founding centenary. The
festival presents the province’s culture through dancing and is frequently attended by
hundreds of artists and participants from the province’s many industries.

The typical’ pandango sa ilaw’ moved to beaches from coastal cities. The individuals in
Oriental Mindoro province have taken their famous’ pandanggo sa ilaw’ from the
beaches and into their capital’s streets, Calapan. And with the dancers holding these
lights, the roads leading to the capital can be compared with an oasis of light as these
roads are covered by a number of dancers dressed in traditional ternos and barong
clothes. The costumes used by this festival’s dancers may differ and some of the
clothes will be simple and some will also be flashy. The dresses may also have floral
prints, most of which are made in orange hues. The dance members endure the heat of
the candles as they move through the capital’s 2-km stretch of road, carrying their
candles in glass, bamboo and coconut shells. The event served not only to encourage
tourism in the region, but also as a manner of promoting dance consciousness called’
pandanggo.’

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