THE MARIA CLARA
(SPANISH) SUITE
Romantic, Refined, Elegant
Four centuries of Spanish colonial rule left an indelible mark on the Philippine islands. As European ways of life found its way among the privileged illustrados; so too did its dances such as the waltz, mazurka, fandango, polka and jota. It was not long before these foreign dances were appropriated and became popular among the urban centres. Named in honour of the heroine in Dr. Jose Rizal’s novel, Noli Me Tangere, the Maria Claria Suite brings to life the elegance and charm of the mestiza Filipina as well as the gallantry and boldness of the mestizo Filipino from a bygone era.
Familiar western dances with an added native flare are revived when PAMANA exhibits the courtship, love and flirtation characteristic of this romantic suite. Below are some of many dances in this suite that PAMANA perform.
Scroll down, to know more about the musical instruments for this suite!
Aray
Description: Although the name of this dance literally means “ouch” in Tagalog, this dance from the old Spanish-era Ermita district is actually quite flirtatious. Female dancers perform with abanico (or fans) and male dancers dance with tambourines. Aray is one of the oldest dances from PAMANA’s original repertoire. In recent years, PAMANA also has a choreography with only females.
Dance variations includes: 4-6 female dancers, partnered with male dancers (may vary upon availability). Video portfolio of this dance coming soon.
Caballero
Description: Caballero is an all-male Spanish dance that brings to life the Filipino-Spanish mestizo. In this dance, the men wear traditional barongs and dance with canes.
Dance variations includes: 4-8 male dancers. Video portfolio of this dance coming soon.
Pitik Mingaw
Description: Originated from the Visaya region, this dance depicts the joy and young love of a newlywed couple. It is said that the couple originally fell in love at first sight. "Pitik" in the Visaya dialect means "Miss"
Dance variations includes: Solo male and female dancer.
Paseo de Iloilo
Description: A very popular, sophisticated courtship and flirtatious dance of the Spanish era. The gentlemen compete against each other to win the heart and approval of the dalaga (young lady), by exemplifying chivalry, grace, and confidence. This version of Paseo de Iloilo was learned during PAMANA’s summer dance workshop with Edwin Duero.
Dance variations includes: Solo female dancer, alongside 3 to 4 male dancers. Video portfolio of this dance coming soon.
La Jota Paragua
Description: La Jota Paragua displays the fire and fury of its European origins, clearly displaying a Castilian influence in the dancers’ footwork, hand movements, castanets, and costuming. This version is PAMANA’s reinterpretation, infusing more flamenco elements into the choreography to further highlight the Spanish influence.
Dance variations includes: 1-2 female dancers, with or without shawls, alongside 3-8 male dancers.
Video portfolio of this dance coming soon.
La Jota de Cagayana
Description: Named after its village of origin, this dance is usually performed at weddings by the parents of the bride and groom. The costumes in this dance are modelled after the styles of the 1920s and 1930s.
Dance variations includes: Solo female and male dancer; This dance can also contain 2 couples. Video portfolio of this dance coming soon.
La Jota Española
Description: Characterized by distinctly Spanish and European dance forms and rhythms, La Jota Espanola features male dancers performing with castanets, and female dancers with abanico, or fans. The rhythmic foot stamping belles the Spanish influence of the dance.
Dance variations includes: 4-8 female dancers, partnered with male dancers. Video portfolio of this dance coming soon.
La Jota Manileña
Description: This is a period piece, featuring the interplay between the fast rhythm of a typical jota and the slower more dramatic partsthat are characteristic of Filipino-Spanish folk dances. The costumes in this dance are typical of the time when Spain was directly controlling the Philippines, and when Manila was considered the Pearl of the Orient Seas.
Dance variations includes: 3 to 6 female dancers, partnered with their male dancers. Video portfolio of this dance coming soon.
THE SOUNDS OF THE DANCE SUITE
MARIA CLARA (SPANISH) SUITE - RONDALLA
RONDALLA in this suite:
With the arrival of the Spanish came the introduction of various string instruments to the sound of traditional Filipino music; giving birth to the Filipino rondalla! Some of the main instruments include the bandurria, the octavina, the laud and the guitar. Together, they form the distinct melody and sound of the Maria Clara and Rural suites.
Highly influenced by traditional Spanish music, music in the Maria Clara suites can range from the soft melodies of courtship dances, like Paseo de Andaluz, to the intensity of the jotas, as shown in Jota Paragua. The use of castanets and stomping is also an important feature to the musicality of many dances. An example of this would be Jota Manilena. Another feature of the music is the slow breaks in the middle of the dance; this is called the patay. This creates a unique contrast between the fast and slow parts of the dance and is a common feature in the Maria Clara suite.