This blog is a compilation of topics about Filipino - Hispanic culture (and nothing extraordinary as the title suggest). Most of the posts here are copied from other sites and are not from my own thoughts. Please visit my other blogs, you can find the links at the right side of this blog. Thank you.

Wanted: Spanish-speaking voice-over talents for spanish cartoons! « FILIPINO eSCRIBBLES

Wanted: Spanish-speaking voice-over talents for spanish cartoons! « FILIPINO eSCRIBBLES:

ambientmedia®, a multimedia production house, is in need of Spanish-speaking voice-over talents for an upcoming anime which will be uploaded in YouTube. They are in need of the following:
1) Male who sounds between 26 to 33 (baritone voice will do); they need three (3).
2) Female who sounds between 26 to 33; they need two (2).
3) An older guy who sounds between 30 to 40; they need four (4).
If you meet the above requirements, you may contact Lynnel de Mesa at You may also dial (0917)537-8620 or 807-44-33.ambientmedia® is located at Carmel House, #29 Buencamino Street, Alabang, Muntinlupà City.
The first version of this anime (entitled Jurassika) can be seen in YouTube.

"Porque" (Chavacano Version) by Maldita

Note: Not all the spelling of the Spanish words that you will see on the video were spelt correctly even in their Chavacano spelling.

Fundacion Centro Flamenco Philippines: Pasion y Fuego

Fundacion Centro Flamenco Philippines, 'Pasion y Fuego', with Emma Estrada, Angel Gomez, Yerbaguena, Marien Gomez, Cecille de Joya, Antonio Soria.

Fundacion Centro Flamenco

Mayen Gomez de Lizares is the daughter of Guillermo Gomez Rivera from whom he learned to dance. She After marrying her husband, she moved to Bacolod, Negros Occidental. There with Irene Caram, they manage a Spanish flamenco School called Zambra Gitana.

Cariñosa, The National Dance Of The Philippines

Cariñosa, the national dance of the Philippines, is a romantic, flirtatious folk dance set to a waltz-like 3/4 rhythm. A couple expresses their feelings for each other with coy moves, including playing hide-and-seek behind a handkerchief or a fan.

Cariñosa is known throughout the Philippines. Cariñosa ('kah-reehn-YOH-sah') means affectionate, lovable, or amiable. With a fan or handkerchief, the dancers go through hide-and-seek movements and other flirting acts expressing tender feelings for one another. There are many versions of this dance, but the hide-and-seek movements are common in all.

Carinosa was introduced to the country by Spanish colonizers. Panay Island, located in the Visaya island group, is considered the home of the carinosa. Dancers perform carinosa to Spanish-style music played by a string ensemble, in 3/4 time.

Carinosa usually involves two dancers, one male, one female, who dance facing one another. The word "carinosa" means "affectionate" or "lovable" in Spanish, and this is a courtship dance. The dancers don't touch each other, but their dancing indicates their romantic interest: They peek at each other around a handkerchief, exchange coy little waves, and drop to one knee while one partner dances around the other.

The first ever published notation of the Cariñosa dance steps was from the book Philippine Folk Dances and Games by Francisca Reyes-Tolentino (later became an Aquino). Mrs Tolentino's master's thesis which have the same title was revised and was later published in 1927. However, the most common of the many Cariñosa found in the country is the one from the book "Philippine Folk Dances v1" by Francisca Reyes Aquino, published sometime in 1940. The version integrated all the common dance figures among the many versions throughout the land.

Three versions of this courtship-festival dance were found in Panay Island, the "Home of the Carinosa". Three different dance researchers discovered three equally beautiful Cariñosa dances. Petronila Suarez had her Carinosa Binggawan, Jose Balcena's informant , an old dancing virtuoso name Casimiro earned him the identity of Balcena's cariñosa version: Tatay Meroy Cariñosa. Tatay Meroy was an old bachelor from Roxas City who because of old age became aggressive in his courting of a future partner. This version dramatizes Tatay Mero's pursuit of his partner who teases him by flirting.

Prolific Visayan dance researchers Libertad Fajardo and her daughter Joanne discovered a Cariñosa version from San Joaquin, Iloilo. The San Joaquin cariñosa is probably the most flirtatious of all known versions. Here, the couple does not simply do some hide-and-seek in a vertically spread handkerchief but also does the combing of each partner's hair and even putting a powder puff! This version is ended with a ballroom waltz where the couple goes around the dance floor in close ballroom position.

The Cariñosa was also very popular in Samar where it is called Pandanggyado Cariñosa or simply Pandanggyado in' Samar. A cariñosa from Bicol discovered by Ramon Obusan in Rapu-rapu, Albay is a very unique song-dance or sayawit. The hide-and-seek uses a folding fan rather than the common prop: handkerchief. A very unique Bicolnon dance step called binanog is prominent throught the dance where it was originally used as an intermission.

The Cariñosa is believed to have replaced the popular Tinikling as the "National Dance of the Philippines" in 1992. However, according to the Philippine Information Agency, the Tinikling is indeed the "National Dance of the Philippines".

The Steps:

The basic footwork is similar to the steps used in a waltz: You move around the floor by stepping to the side with your left foot, then moving your right foot next to your left. You finish off this series of three movements by tapping your left foot on the floor. Repeat this sequence of steps, this time beginning by stepping to the side with your right foot.

Spins are another fundamental element of carinosa. They take up the last two bars of an eight-bar sequence. If you're the male half of the dancing pair, you either fold your hands behind your back or put your hands on your hips. The best way to think of this modified hands-on-hips pose is to make sure your thumbs point inward toward your waist and your knuckles rest on your love handles, even if you don't have them. If you're the female, hold your skirt up a few inches off the floor by taking each side of your skirt between your thumb and forefinger. You can either do two turns, one for each three-beat bar, or one turn on the first three-beat bar. For the latter, you simply stand still for the last three-beat bar. You'll always turn to the right.

The Props: 

Female carinosa dancers often use fans. If you're the female dancer, you open your fan by giving it a firm shake. Once it's open, simply fan yourself to the music, matching each downward movement of the fan with one beat in the three-beat bar.

The handkerchief hide-and-seek is a key element of carinosa. Each partner holds two corners of the handkerchief and stand facing each other, holding the handkerchief so it blocks the view of the other partner's face. On the first beat of the three-beat musical bar, both partners lean to the right side and peek at each other around the handkerchief. They hold for a beat, then, on the third and final beat of the bar, they return to an upright position, holding the handkerchief so it is blocking the faces again. On the first beat of the next bar, the partners flip the handkerchief while still holding it, so if one partner had been holding the top two corners, he's now holding the bottom two corners, or vice versa. As they do so, they lean to the side and peek at the other partner around the handkerchief again. This series of movements continues for six bars in total; for the last two bars of the eight-bar section, the partners switch places by waltzing around each other while still holding the handkerchief. This entire sequence repeats. The hide-and-seek sequence can be performed with a fan instead of a handkerchief.

The female dancer of the carinosa pair holds her skirt with one or both hands, pinching the fabric of the skirt with the thumb and forefinger, at the side, at about mid-thigh level.

Source: eHOw

Nueva Valencia, Philippines

Nueva Valencia is a 4th class municipality in the province of Guimaras, Philippines. According to the 2000 census, it has a population of 30,716 people in 6,043 households. This is the site of Guimaras oil spill since August 2006. The boat named MT Solar 1 sank a few kilometers from Nueva Valencia.


The history of Nueva Valencia, just like that of other towns in the island of Guimaras, dates back to the time when Himal-us (Guimaras) was Christianized by the Spaniards in 1591.
The towns were known as pueblicitos (villages) of Nayup (Buenavista with San Pedro Apostol as patron saint; Nabilhan (Jordan) with San Juan Bautista as its patron saint; and Agang (Valencia) whose patroness was Santa Ana. Although during the Spanish regime there were separate powers between the church and the state, yet the church had much influence in the creation of pueblos (towns) and establishment of parishes.
It was also mentioned in the “History of Panay” by Regalado and Franco, that in Panay, the towns included under the jurisdiction of Ogtong (Oton) were the three towns in the Island of Himal-us, namely Nayup, Nabilhan and Agang.
In 1742, the island fell under the jurisdiction of Dumangas until 1751 when the Jesuits took over from the Augustinian Order. In 1768, the Dominicans had spiritual jurisdiction over Guimaras until 1775 when it was organized into a regular parish with Iloilo.
How Nueva Valencia got it's name:

With the coming of the Spaniards, trade and commerce also flourished as Spain opened markets to foreign countries. There was a “galleon trade” between Manila and Acapulco. Iloilo at that time was known as the “Fort of the Southern Archipelago.”
Just like at present, the sea route from Manila to Panay passed the western portion of Guimaras, through the Iloilo Strait and docked at Fort San Pedro. The Spaniards saw the need of a lighthouse to guide the incoming and outgoing vessels especially during dark nights and when typhoon occurred. The suitable place for a lighthouse was in Himal-us (Guimaras).
The group, with some engineers, landed in Puyu which at that time, the landing point of vessels. They went on foot until they reached a place which is now Sitio Guisi. Such place was ideal for a lighthouse since it could be seen far away from the sea. The Spaniards named the place as Punta Santa Ana in honor of the patroness of typhoon. A lighthouse was const ructed which operates until today.
The Spaniards had come to like the place of Santa Ana which extended from the lighthouse to Sitio Puyu. Eventually, population increased and the Spanish authority created Santa Ana as a town and named it Valencia after a town in Spain which patroness was Santa Ana. The first appointed “alcalde mayor” was Don Manuel Segovia. The municipal building called “Casa Real” was constructed and was located adjacent to the site of now Nueva Valencia National High School. Later, the seat of the municipal government was transferred to Barrio Igang when the Casa Real was razed by fire due to an unknown cause. Igang then became the Poblacion and the whole town was named Nueva Valencia or “New Valencia” after Valencia in Spain.

DATE FOUNDED: January 1, 1941
AREA: 13,711 Has
DIALECT: Kinaray-a, Hiligaynon
RELIGION: Roman Catholic (75.19%) Aglipayan (19.86%) Others (4.95%)
LAND USE: Predominantly Agricultural
SOURCE OF LIVELIHOOD: Agriculture, Fishing and Services
MAJOR PRODUCTS: Mango, Rice, Coconut
GEOGRAPHICAL COORDINATES: 10 31′40.63″ N & 122 32′18.62″ E



Philippine Academy of the Spanish Language

The Philippine Academy of the Spanish Language (Spanish: Academia Filipina de la Lengua Española) is the main Spanish-language regulating body in the Philippines. Its headquarters are located in Makati City. It was established in Manila on July 25, 1924.

Though Spanish ceased to be an official language of the Philippines in 1973, the academy is still considered as a state institution. Former Philippine president Gloria Macapagal-Arroyo, Foreign Affairs Minister Alberto Romulo, and Cebu Archbishop Cardinal Ricardo Vidal are among its directors.

In December 2007, President Arroyo signed a directive in Spain that would require teaching and learning the Spanish language in the Philippine school system starting in 2008. It belongs to the Asociación de Academias de la Lengua Española.

Academics In Order Of Seniority

  1. Sr. D. Guillermo Gómez Rivera.
  2. Sr. D. Edmundo Farolán.
  3. Sra. D.ª Lourdes Carballo.
  4. Rvdo. P. D. Fidel Villarroel, O. P.
  5. Rvdo. P. D. Pedro G. Tejero, O. P.
  6. Sr. D. Ramón A. Pedrosa.
  7. Sr. D. José Rodríguez Rodríguez.
  8. Rvdo. P. D. Diosdado Talamayan y Aenlle, D. D.
  9. Sr. D. Alejandro Roces.
  10. Sra. D.ª Rosalinda Orosa.
  1. Rvdo. P. D. José Arcilla, S. J.
  2. Sra. D.ª María Consuelo Puyat-Reyes.
  3. Sr. D. Francisco C. Delgado.
  4. Sra. D.ª Gloria Macapagal-Arroyo.
  5. Rvdo. P. D. Miguel Bernad y Anselmo, S.J.
  6. Sr. D. Benito Legarda.
  7. Sr. D. Salvador B. Malig.
  8. Sr. D. Alberto G. Rómulo.
  9. Sr. D. Wystan de la Peña Salarda.
  10. Sr. D. Hilario Zialcita y Legarda.
  1. Sra. D.ª Lourdes Castrillo de Brillantes.
  2. Sr. D. Regino Paular y Pintal.
  3. Sr. D. Emmanuel Luis A. Romanillos.
  4. Sr. D. José María Cariño y Ancheta.
  5. Sr. D. Macario M. Ofilada, III.
  6. Sr. D. Erwin Thaddeus Bautista Luna.
  7. Sr. D. René Ángelo Prado Singian.
  8. Sr. D. René S. Salvania.
  9. Sra. D.ª Trinidad O. Regala.
  10. Sra. D.ª Daisy López.

Elected Academics

Emmo. y Rvdmo. Sr. Cardenal D. Ricardo Vidal

Website: ASALE
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