Abstract
Dance can be thought of as a marker of identity: part of the range of cultural practices that produce and define how we see ourselves. In the Philippines, arguments over what constitutes ‘Filipine-ness’ include the dance that represents the nation. In an arena where cultural practices jostle with each other for attention and ways of remembering the past are clearly delineated, the nostalgic, politicised imaginings of the people stand in contrast to the postcolonial revisionist academic stance.
This book chapter explores the change of the national dance, linking this to the changing political relationships with Spain and a shared, remembered past. This shift demonstrates a change from colonial subject to a type of independence, a process that has been much more complicated in its approach to representation.
The two main dances considered are the Cariñosa and Tinikling. Both of these are highly political choices that reveal specific representational directions—one as a dance that has its origins in Spain, and has since been ‘Filipinized’, and the other as an attempt to work into a more Asian identity.
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Patrick, D. (2021). National Identity in Philippine Folk Dance: Changing Focus from the Cariñosa to Tinikling. In: Parfitt, C. (eds) Cultural Memory and Popular Dance. Palgrave Macmillan Memory Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-71083-5_10
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