|Dance Culture||Lowland Christians|
|Place of Origin||Rapu-Rapu, Albay|
|Background / Content|
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, food, tree, animal, fish, and a host of other things uniquely Philippine were selected. Cariñosa was suggested to be the national folk dance.
Immediately, objections were voiced out by many sectors, claiming that the Cariñosa 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. Cariñosa’s choice is meanwhile put to a hold.
But this Cariñosa 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.