SAYAW: Filipino Dances
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Luzon Region


	The traje de mestiza was in fact the "Maria Clara", 
trimmed into a shapely modernity. The camisa became a clinging 
bodice, with the sleeves puched up and cut short to be an 
abbreviated leg-o-mutton. The saya deflated to a slim column 
that burst out at the hem into a flare or train.

	The paņuelo persisted with its hauteur and it was 
matched in opulence by a recreated tapis, usually displaying 
dazzling patterns in dexterous beadwork.

	The traje de mestiza was jazzed up, in tune with the 
Jazz Age! The skirt took the spotlight, elongating at the back 
to form a saya de cola, the long train which was either pointed, 
oval, or square. Or it slithered and swept the floor in a cut 
called serpentina.

	For dancing the valse and the rigodon de honor, the 
train was raised with a hem loop inserted to a finger, while 
a stringed fan was attached to the waist. Thus the porta abanico 
rustled against the saya.

	And the elegance of the traje de mestiza could not be 
achieved without the right understructures. There were the salawal 
or drawers, topped by the camison or chemise. Over these were the 
corpino, which covered the bosom, and a petticoat called enagua.

	In the postwar years, mention of the traje de mestiza would 
conjure a vision of splendor that was reigned, in the glitter and 
glamour, at every Carnival. It was an image that would live on 
with few subtle changes, until the mid-century.

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