“Reconstructing Maria Clara”: An empowered contemporary interpretation on the undervalued characteristics of Filipino women through analyzing
Maria Clara in the Carinosa
Calista Loriana L. Conlu De La Salle University Integrated School (Manila)
[email protected] Jayrald P. Magat, Research Adviser De La Salle University Integrated School (Manila)
Abstract: Throughout decades of progress, gender stereotyping remains a social dilemma in the Philippines. Particularly with the media's continued portrayal of Filipino women as a part of society. These societal constraints on women date back to the postcolonial era, which continues to have an impact on women's life, robbing them of their independence, self-expression, and rights.
This artwork aims to give a perspective that empowers the various qualities and roles of Filipino women that society deems as ‘undervalued’. In this study, Cultural Feminism was used as the basis of understanding the social dilemmas and other factors concerning gender roles, specifically for women. Moreover, the use of Semiotics was applied in analyzing the body language of Filipino women being represented in the Carinosa. Maria Clara upholds a character that is often unattainable. Filipino women have been accustomed to live up to this standard, even up to this day. While there is no harm in that, there have been misinterpretations and misconceptions that led to limiting women’s roles in society. The contemporary interpretation of the Maria Clara character through dance shows a concept that disregards society’s limits.
Keywords:stereotype; media; sociocultural; dance; contemporary
1. INTRODUCTION
1.1. Background of the Subject Matter
Despite the progress made throughout the decades, gender stereotyping in the Philippines is still visible, especially in media representation and other content due to various influences from the media itself and sociocultural factors. Dating back from the postcolonial era, these societal norms have affected the lives of women suppressing them of liberty and self-expression (Vega et al., par 1-4). For instance, personality traits are assumptions that women should be gentler and more emotional. There is also domestic behavior, wherein most expectations for women are to stay at home and take care of children. On top of that leads to physical appearance, where women are presumed to be soft, thin, and graceful wearing modest clothing (Planned Parenthood,
par3). It is important to note that stereotypes are not consistently accurate. Thus, it conflicts with one’s self-expression, identity, and mental well-being.
However, gender-stereotyping in the Philippines is not a new impediment. These instances however are heavily impacted due to some sociocultural values. Furthermore, Pasion (1) claims that dance is a practical way of studying cultures through different theoretical perspectives because its medium is the body. With that in mind, historians have come to realize that the artworks made by locals have the power to document cultural identity through time. Dance is an artwork that captures the way of life. In this study, the famous Maria Clara character was used to understand how gender-stereotypes play a huge role in limiting Filipino women and shaping the beliefs of Filipinos. Moreover, the
Carinosa will be the basis on the analysis of the Maria Clara character/role.
Through the decades, portrayals of Filipino women have been represented in an image that bounds them to a restricted character/role. This creative work aims to bring awareness to how media and sociocultural influences greatly impact our minds towards discrimination, and sexism. Thus, presenting a contemporary interpretation of the Maria Clara character through dance aims to show a concept that disregards society’s limits.
The Cultural Feminist Theory and Gender as a social construct encompass various cases and background regarding women in politics, media, and the like. With the media and culture used as instruments that continue to exhibit gender stereotypes of Filipino women, the study tackles aspects of dance in connection with heritage and body language in representing and shaping an identity. The Carinosa will be used in analyzing and supporting that data and claims gathered since Maria Clara’s character became a basis of how Filipino women are expected to act (Montoya).
1.2 Research Question
How can a contemporary interpretation of folk dance present a perspective that uplifts the undervalued representation of the characteristics of Filipino women, through the analysis of Maria Clara in the Carinosa?
1.3 Scope and Limitation
This study will not further discuss topics on gender-stereotyping outside media, Philippine culture, and dances that are not of Spanish influence or outside the Maria Clara suite. This will not further discuss topics on gender-stereotyping outside dance and folk dances that did not originate from the Maria Clara concept. However, it will be expanded in discussions.
2. THE PROCESS
2.1 MethodologyIn analyzing the Carinosa’s dance notation and choreography the use of semiotics was applied to be able to understand the sociocultural elements of the performance.
Semiotics in dance is “presented as a possible way to the
development of a systematic approach that is prepared to deal with non-symbolic structure of representation engaged in the form of language, and its various features” (Rochelle, 125).
According to Davis, semiotics in a qualitative study is a structural linguistics-based approach to cultural interpretation that involves studying sign systems and how meaning is created within a culture (16). In a metaphorical sense, dance as a language is considered under the concept of communications (Rochelle 112). According to Popa, (p.10):
Dance has characteristics of signal and symptom, and entails symbolic qualities derived from its embedding in some cultural codes. Dance is a special expression and characteristic of human behavior. Dancing codes try to fix the spontaneity, the "naturality" of movements and feelings within a foreseeable and repeatable system of expression. In such a code — or body language — the flashing of life and emotion is taking shape. Dance involves a special form of "stylization" or abstraction and of codification.
Dance, specifically folk dances, imitate much of life that it became an early process of communication where minimal interaction between the sender and receiver is required.
2.2 Medium and Technique
The artwork highlights contemporary dance along with interpretations of the Carinosa folk dance as the main inspiration of the whole piece. Through the centuries, content creators have retained and transmitted information while influencing people through messages that rely on body language to convey a message (The Dance Films par 1-2).
Moreover, the fluidity of contemporary dance surrenders to unstructured and improvised movements, indicating freedom.
With this in mind, this can potentially eliminate any biases against familiar movements being portrayed.
3. THE ARTWORK/ CREATIVE WORK
3.1 The Artist’s World View
Dance can capture the beauty of rich cultures and societies. Moreover, it is a way of passing traditions and knowledge to the next generation to preserve and maintain.
Translating thoughts and messages with the use of the body became a new artistic medium in influencing the youth.
For sure, notable progress has been made regarding gender equality. However, there are issues that still remain in Philippine society that create conflicts. The domination of gender stereotypes on women has affected how I socialize, express my individuality, and make decisions. Growing up in a traditional household and a Catholic upbringing, being a woman was difficult in terms of how I am allowed to express myself, specifically how I use my body. As a dancer, I was exposed to the different dances, techniques, and styles. But having to study Philippine folk dance in school, teachers repeatedly taught us (girls) to behave and act a certain way.
Along with this, I was also studying Philippine literature, Noli Me Tangere and El Filibusterismo. Here we find the characterization of Maria Clara, the symbol of Filipino women. She is seen and described as a beautiful and ideal woman that Filipinos look up to. While there is no harm in admiring Maria Clara or having the mahinhin persona, it however, creates an image on how women are expected to be which generates limits. Furthermore, this becomes an instrument of continuous gender stereotyping when misunderstood. This later on affected my judgment on body language.
3.2 The Media’s Ongoing Influence
Generating gender-based identities and notions such as branding in business was taken further which led to stereotyping and sexism. These instances still happen in the Philippine media, especially when it comes to one’s qualities.
A recent incident was Belo’s 2021 insensitive commercial portraying how a woman’s physical appearance changes drastically due to the stress of the lockdown. The commercial made it appear that body hair, weight gain, and other blemishes were humiliating (ABS-CBN News). Local ads indirectly portray women as someone who belongs at home and has a soft demeanor to please men (Genete). Gender stereotyping encompass both sex and gender and refers to the patterns and habits of behavior that people typically identify with male or female (Popa & Gavriliu, p.1200). Moreover, Genete states that “It’s worth noting that these stereotypical depictions of Filipinas were not created by advertising. It does, however, play a significant role in preserving and enhancing these social image constructions.”
3.3 Filipina Representations in the Carinosa
The Spanish influence in the Philippines was the most consequential in Philippine culture with religion also taking part in the perception of women. Christian education aggressively took control of women’s bodies, suppressing their sexuality; consequently, the issue can be seen as creating judgment about sex and the female body (Hega et al. p.1).
One of the many influences of the Spaniards was celebrating festivals. Hence, showcasing social dances are a huge part of traditional and cultural practices. Philippine Folk dances embody the way of life and certain characteristics of the townspeople. One of the most notable folk dances in the Philippines is the Carinosa, which is of Spanish and European influences. The courtship dance portrays a couple in love, thus, the characteristics of being ‘loving’ and ‘modest’ are highlighted as favorable traits of women. The definition of Carinosa itself means ‘affectionate’ which refers to Filipino women (Harris). With this in mind, this dance has become known “for depicting idealized gender-based virtues”
(Montoya; Declan). The Maria Clara character is further described in Jose Rizal’s novels; Noli Me Tangere and El Filibusterismo, both of which are implemented in the high school curriculum according to the Republic Act no. 1425.
Although Maria Clara being the epitome of a Filipino woman might just be Rizal’s preference for women, nevertheless, this has been influential for decades until now.
3.4 Body Language
A powerful nonverbal communication that reveals a person’s intentions, feelings, and motives is body language (Tipper et al., para1). Sokolov claims that gender differences in behavior may not always reflect a sex-related difference, but rather, socio-cultural stereotypes influence gender disparities in social cognition performance. Philippine culture is known to be deeply embedded in imitating the life around.
For instance, Philippine folk dances imitate much of society.
Thus, this art form is heavily influenced by the interactions happening in a society.
3.5 The Artistic Project
The dance piece showcases the traditional and contemporary interpretations of the dance steps and gender representation of women in the Carinosa. The narrative starts with the traditional Maria Clara, she is covered in a white lace, dolled up by a man while sitting pretty in her doll box.
Carrying on with her routine, she leads the audiences’
thoughts to her situation, showing a glimpse of the dance figures in the Carinosa that was utilized in the analysis. While
her doll box holds her and maintains the limits implemented on her by society, she manages to escape while pretending to be a civilian. Even in doing so, she saw that society still managed to control her which was shown through a hand-shadow dance that controls the dancer’s movements.
Presented with a blank canvas, she struggles to create the story she wants for women and their liberty. In the end, Maria Clara finds peace with her situation and she enjoys the freedom she fought for. The last part of the artwork shows her fighting spirit and that the concept of ‘femininity’ is not
‘weak.’ Hence, the use of fluid movements and graceful movements. The flow of the narrative shows the progression between the different eras on how body language is perceived and how women are controlled. The artwork aims to empower the characteristics that are said to be ‘undervalued’
and seen as ‘weakness’ among the women in Philippine society.
Fig. 1. “Maria Clara’s doll box.”
Fig. 2.“Hand shadow.”
Fig. 3.“The Blank Canvas.”
3.6 Results
The semiotic theory used in the data analysis was Roland Barthes’ Semiotic Theory. Using the Denotative and Connotative meanings to analyze visual signs or representations. Having denotation as the sign’s obvious meaning, and connotation as the interaction that occurs when the viewer receives the sign (Seiler). To analyze and understand the dances’ artistic communication with the use of semiotics, the elements that need to be considered are the movements, socio-cultural background, genre and style, subject matter, dancers, visual elements, and settings (World Dance Heritage).
According to Declan, Carinosa in particular is a
“dance that is characterized by the Filipino system, no touch.” Throughout the dance, women uphold a shy and modest demeanor. From the name Carinosa itself, it already implies that the dancers are ‘affectionate’. Moreover, the courtship dance highlights women’s qualities and roles that are considered desirable in society. See table 1.
Fig. 4“Cariñosa.”GTActivity,
https://gtactivity.ca/activity/2856.Accessed Jan 27, 2022.
Table. 1
Carinosa Analysis
Denotation Connotation Back to back-
meet center - turn to back - shake right index finger
Displaying intimacy:
Flirtatious / affectionate behavior
Hide and seek with fan- meet in center - hold open the fan -g cover face with fan - b looking at partner underneath the fan
Fans were used as a way to express women’s emotions in social settings.
Using the fan is a way of communication while refraining from touching and speaking (Casa Mercedes).
Hide and seek with fan display the following:
● Covering half the face indicates the desire to be followed.
● Fanning quickly indicates her interest.
(See Figure 4).
Hide and seek with handkerchief - partners meet at center - boy takes a
handkerchief - partners hold handkerchief at corners in a
perpendicular position between their faces - partners point RL foot alternately 4 times - when own hands are down look at partner’s face from below and when up, look above the handkerchief - partners exchange places and repeat finishing in proper places.
Couples (women and men in general) then were not allowed to touch publicly (display affection).
Specifically for women, expressing direct emotions publicly is seen as an aggressive behavior that society disagrees with. Women in this dance figure play a role that is modest and self-conscious. Being pakipot (playing hard to get) is expected and considered as a suitable behavior in a courtship dance (Seasite, para 13).
Flirting with handkerchief - Partners turn r shoulder toward each other - take 8 waltz step forward moving around clockwise - girl hold handkerchief and place over her RL shoulder every measure looking at boy - Boy follows behind girl stretching out RL hand as if trying to catch the free end of the
handkerchief - repeat counter clockwise - finishing in proper places
The male character is represented as the dominant role in the dance. On the other hand, women are represented as objects of men’s desires, conforming to the standards of what is seen as ‘pleasant’ to the male gaze, makes her more
‘desirable.’ Additionally, reaching for the handkerchief may symbolize the longing feeling to touch each other.
Fan /Pamaypay as a prop in the dance
The use ofpamaypaycame from the higher classes who prioritize Catholic principles, such as modesty and purity.
Below are other decoded messages of the fan, according to Casa Mercedes, Holding the fan:right hand- woman is single. left hand- she is taken.
Closing the fan:slowly- not worthy.
abruptly- boredom.
Intentionally dropping the fan - trust Holding the fan close to the chest - feeling disrespected.
Counting the ribs of the fan - she wants to talk.
Playing with the tassel - she does not value him.
Letting the person borrow the fan:
closed- represents her trustopen- represents friendship.
The dance does not only tell a story of a courteous bond between a girl and a boy but also portrays characteristics that suppress women's roles due to the cultural judgment on women. These characteristics created an image that femininity is the only acceptable norm for women and is associated with “weakness” in a male dominated country.
Otherwise, when a woman is not acting as expected, their characteristics are frowned upon.
4. CONCLUSION
Filipino women have come a long way in paving the way to regain their strength and liberation from societal constraints. Together with the evolving society, the mind learns and becomes more open to new ideologies and 'norms' that were once considered taboo. Nevertheless, even in slowly stripping away the decades of malicious judgments against women’s bodies and characteristics, women still experience these today. The study aims to bring awareness to how media and sociocultural influences greatly impact our minds towards discrimination and sexism. Through the analysis of the Maria Clara character in the Carinosa, the results further clarify how body language was manipulated and perceived in the Philippines by different generations.
Moreover, the research also revealed that feminine characteristics are often associated with weakness, gracefulness, and softness instead of it being a personal quality that is not entirely linked with one's biological sex.
After a thorough analysis of the gathered data, it is recommended that future researchers:
● Analyze and study the different Maria Clara suites that carry and embody gender roles and how these continue to affect society.
● Research on how the media unconsciously develops more gender stereotypes, not only affecting the dance industry but also other fields of profession.
● Conduct further research on where gender stereotyping and discrimination is critical for social and personal development. This may be seen and experienced in different industries, fields of profession, and other social places. Future researchers may also study discrimination against men and the LGBTQ+ community.
Although gender stereotyping and discrimination diminishes over time, unfortunately, this issue continues
to expand in various ways. Discrimination and inequality happen not only to women but also to other sexes and genders in the spectrum. It is important to note that studies on feminism and gender benefit everyone in society as it accentuates and develops equality and makes it possible to eliminate oppression that exists within cultures and societies.
5. ACKNOWLEDGMENTS
The researcher would like to acknowledge the ADT Performing Arts Faculty for the support and comments from the proposal defense in Term 1. She would like to express her sincerest gratitude to her research adviser, Mr. Jayrald Magat and her previous research adviser, Ms. Daryl Gadingan, for their support throughout the research. She would also like to acknowledge the support of her family, Inigo and Rosa Conlu, for their constant guidance in the creation of the artwork. And her partner, Aki Valina, for extending his support in helping her create the set design and film the dance piece. She would also like to thank her friend, FC Dongon, for the dialogue in the dance film, and her folk dance teacher, Mr. Peter Alcedo, for lending her a copy of the Carinosa dance notation. Lastly, she would like to thank the 120 dance stream, Tasha Ramos and Gavin Tolentino, for their support and comments that motivated her to keep going.
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