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The cariñosa (Spanish pronunciation: [kaɾiˈɲosa], meaning loving or affectionate) is a Philippine dance of colonial-era origin from the Maria Clara suite of Philippine folk dances, where the fan or handkerchief plays an instrumental role as it places the couple in a romance scenario.
The María Clara gown, historically known as the traje de mestiza during the Spanish colonial era, [1] [2] is a type of traditional dress worn by women in the Philippines. It is an aristocratic version of the baro't saya .
María Clara de los Santos is a fictional character in José Rizal's novel Noli Me Tángere (1887). The beautiful María Clara is the childhood sweetheart and fiancée of the protagonist, Crisóstomo Ibarra , who returns to his Filipino hometown of San Diego to marry her.
Tagalog maginoo (nobility) wearing baro in the Boxer Codex (c.1590). Baro't saya evolved from two pieces of clothing worn by both men and women in the pre-colonial period of the Philippines: the baro (also barú or bayú in other Philippine languages), a simple collar-less shirt or jacket with close-fitting long sleeves; [5] and the tapis (also called patadyong in the Visayas and Sulu ...
The Noli Dance Suite consisted of several dances. Maria Clara and the Leper, Salome and Elias, Sisa, Asalto for Maria Clara and The Gossips are some of the dances found in the Noli Dance Suite. [2] Leonor Orosa-Goquingco also danced during her early years.
Cariñosa dance places the couple in romance scenario. Traditional courtship in the Philippines is described as a "far more subdued and indirect" [1] approach compared to Western or Westernized cultures. It involves "phases" or "stages" inherent to Philippine society and culture.
The librettist wrote the libretto during the war [1] and the composer started writing the opera in 1953. However two arias from the opera, Maria Clara's "Kay Tamis ng Buhay" and Sisa's "Awit ng Gabi" were written earlier, with the former being written in 1949 and the latter written in 1952 for Fides Cuyugan-Asensio's graduation recital.
The name of the dress is an eponym to María Clara, the mestiza heroine of Filipino hero José Rizal's novel Noli Me Tangere (Latin for "Touch Me Not"). [2] The woman's clothing in the painting is the reason why the masterpiece is alternately referred to as María Clara. It is one of the few canvases done by Luna illustrating Filipino culture.