The 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. 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.

The Suite include:

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.

Polkabal
(POHL-kah-bahl)
A dance influenced by two distinct European styles: polka and valse.

Paso Doble
(PAH-so-DOH-bleh)
Meaning "two-step," the name is actually a misnomer, as it is an ordinary walking or marching step called the "one-step." The term refers to the stirring marching music played as background music at bullfights and fiestas throughout Spain.

Lanceros De Negros
(lahn-SEH-rohs-deh-NEHG-rohs)
During the Spanish time, this dance was one of the popular quadrille dances in the Philippines. It is similar to the stately Rigodon de Honor and is danced in important social affairs to formally open a big ball. One version from Silay, Negros Occidental, is performed in a lengthwise formation.

All of the dances are played theatrically.
Photo credits: Hiyas Dance Company