Maria Clara Suite

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. 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.

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

MIDI File (aray.mid)
(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.

Habanera

Audio sample (habanera.wav)
(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.

Jota Española

Highlighted by castanets, abanicos, and tambourines.

Jota Manileña (Manila)

It originated in the capital city around the 19th century.

Jota Moncadeña (Moncada, Tarlac)

Audio sample (moncaden.wav)
A combination of Spanish and Ilocano dance steps and music.

Jota Pangasinana (Pangasinan province)

(pahng-gah-seeh-NAH-nah)
Demonstrates the flair of stomping feet culminating with the cry of "Olé!"

Jota de Paragua (Cuyo, Palawan)

(pah-RAHG-wah)
Displays a Castillan influence with Zapateados (footwork), Lobrados (arms), and Sevillana style of dress. The ladies wave their mantón, or decorative shawl, while the gentlemen keep brisk pace with bamboo castanets.

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.

Mazurka Boholana

(mah-ZOOR-kah-boh-hoh-LAH-nah)
This dance is a traditional ballroom dance popular in Bohol and in other provinces during the Spanish times.

Polkabal

Audio sample (polkabal.wav)
(POHL-kah-bahl)
A dance influenced by two distinct European styles: polka and valse.

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, both timawas, 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.