Cariňosa

Dance Researcher: Ramon A. Obusan

Resource Person: Dancers of Rapu-rapu, Albay
Dance Presentor: Raul Nepomuceno
Place and Date Recorded: Rapu-rapu,Albay – April 16, 1993
1996 National Folk Dance Workshop

Meaning: Amiable
Dance Culture: Lowland “ Christian”
Place of Origin: Rapu-rapu, Albay
Ethnolinguistic Group: Bicolano
Classification: Courtship/Social
Performers: Men and Women

Background / Context:

The 1970’s saw the blooming of Philippine Nationalism, a much desired move to educate, conserve, explore and
research on everything Philippine. Systematic choosing resulted in labeling of things this, and things that, as national representatives. After
shuffling through a long list: a flower, leaf, house, song, tree, animal, fish, and a host of other things uniquely Philippine were selected.
Cariňosa was suggested to be the national folk dance.
Immediately, objections were voiced out by many sectors, claiming that Cariňosa is not the appropriate dance to
exemplify the Philippine character, sensitivity, feelings, norms and values. Many wonder what criteria they used to base their suggestion.
Cariňosa choice is meanwhile put to a hold.
The Cariňosa popularized in Rapu-rapu island of Legaspi City in Albay, came from nearby Samar which in turn
inherited it from the mainland of Panay. Panay is said to be the home of the Cariňosa. When first introduced in Rapu-rapu, the Cariňosa
was a courtship dance performed by a couple but has since metamorphosed into a social dance performed by several couples.
First concocted sometimes at the turn of the century, when the Philippines was still a repressed society, the Cariňosa
followed the strict code of “ Filipino system, no touch”. It was considered scandalous to touch accidentally or otherwise the tip of a lady’s
finger. Fierce moral standards dictated that a wedding was the only solution to such a shameful situation.
Persistance and coyness characterized Rapu-rapu’s Cariňosa. It is introduced by love song sung in Bicol.A lady remains
impeccably demure, arming herself with a dainty hankie and a scented fan. The hankie perfectly distanced her finger from his, while the
fan effectively shields her from attempts to steal a kiss or two.
But this Cariňosa is not that stiff as it seems. It has some light intermezzo movements, which give the dancers
movements to relax and let down their hair, as it were. Partners stretch the hankie between them for the hide and seek sequence, wipe each
others forehead, fan each other and then finally, chase and run, ending with the man pleading on his knees.
Movements Particular to Dance
1. Use of fan to parry and elude stolen kisses.
2. Use of fan in the “hide and seek’ sequence.
3. Use of hankie to wipe off forehead.
4. Song by mail lover expressing his love
5. Song by female lover in answer.
6. Male kneeling while acting out his love offer.
Dance Properties:
Costume:
Female” Maria Clara of the moderate type”
Top ( Baro ) : bell-sleeved, moderate width, embroidery on borders, white piňa, jusi, cotton of late
organza or nylon.
Scarf ( Baksa or Panuelo ) : Of the same baro material, square scarf folded into a triangle and set
over the shoulders with the pointed tips gathered in the front and kept in
place by a pin or brooch.
Chemise ( Capino ) : White, cotton, and embroidery on neckline.
Skirt ( Saya ) : Semi balloon of any material, silk, brocade, satin or lace.
Type 1 - gored, six to eight panels in coordinates or altering colors.
Type 2 - full field with apron-liked design.
Type 3 - four panels ( two of the same shade ).
Type 4 - flower appliqué in a full field in any jewel color.

Accessories : Gold or imitation, comb, earrings, necklace, bracelets and rings.

Footwear : Elaborately decorated cocho slippers, necklace, bracelets and rings.

Male :
Top : Elaborate Barong Tagalog
Pants : Dark trousers