The baro’t saya or baro at saya (literally "blouse and skirt") is a traditional dress ensemble worn by women in the Philippines. It is a national dress of the Philippines and combines elements from both the precolonial native Filipino and colonial Spanish clothing styles.[1] It traditionally consists of four parts: a blouse (baro or camisa), a long skirt (saya or falda), a kerchief worn over the shoulders (pañuelo, fichu, or alampay), and a short rectangular cloth worn over the skirt (the tapis or patadyong).[2]
La Bulaqueña, an 1895 painting by Juan Luna of an upper class woman from Bulacan wearing a traje de mestiza. The painting is sometimes referred to as the "María Clara" due to the woman's dress.
The baro't saya has multiple variants, known under the collective term Filipiniana, including the aristocratictraje de mestiza (also called the Maria Clara); the Visayankimona with its short-sleeved or poncho-like embroidered blouse paired with a patadyong skirt; as well as the unified gown known as the terno, and its casual and cocktail dress version, the balintawak.[1] The masculine equivalent of the baro't saya is the barong tagalog.[3]
Baro't saya is a contraction of "baro at saya", literally meaning "blouse and skirt", from Tagalogbaro ("shirt" or "clothing") and saya (from Spanish "skirt").[4]
Description
The Baro't saya is an ensemble that traditionally consists of four parts: the blouse (baro or camisa), a long skirt (saya or falda), a kerchief worn over the shoulders (pañuelo, fichu, or alampay), and a short rectangular cloth worn over the skirt (the tapis or patadyong).[2]
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 Archipelago, and malong in Mindanao), a short rectangular or tube-like cloth worn wrapped around at waist or chest-height and secured with belts, braided material, or knotted over one shoulder. Women also usually wore bracelets over the baro.[6] These types of clothing still survive in non-Christianized groups in the Philippines.[5]
Spanish colonial era
Mestizos de Manila by Juan Ravenet showing the checkered narrow paressaya of native women in the 18th century Philippines. Also note the European-style clothing of the men. (c.1792-1794)
Filipina, a 19th-century painting of a working-class woman in baro't saya by Fabián de la Rosa
The Spanish clergy during the colonial period deemed the precolonial mode of dress as immodest for women and introduced the long skirt (known by the Spanish name saya or falda) to be worn under the tapis. In the Visayas, the patadyong was tolerated for longer, although it was eventually also replaced with the saya in the 19th century.[5][7][8]
By the late 18th century, the traditional everyday wear of women in the Philippines consisted of two basic pieces of clothing known as the pares ("pair"). This consisted of a saya reaching up to the ankles (usually checkered) and a collar-less baro or camisa (usually plain or stripped). The name pares was more closely associated with the skirt, which unlike later saya were narrow and sheath-like, resembling precolonial tapis. They were secured at the waist by strings and had wide, flat pleats along the waistline held together by pins. The baro was more or less identical to precolonial baro, with long narrow sleeves. Like later ensembles, these two pieces of clothing were usually complemented by a tapis (which was now worn as an overskirt) and a kerchief around the shoulders known as the pañuelo, fichu, or alampay (made from the same opaque material as the skirts).[5]
The fabrics used for early sayas were usually native textiles (particularly textiles made by highlander Visayans in Panay). Later on in the 19th century, they began to use similar imported textiles, most notably the cambaya imported from India.[5]
The narrow width of the 18th-century paressaya, however, made them impractical for everyday life. By the 1820s to 1840s, the saya was replaced by a billowy western-style skirt known as the saya a la mascota. For women of the upper classes (principalia), they were usually ankle-length; while for women in the lower classes, they usually reached down to mid-calf to facilitate freer movement while working. Knee-length versions were also allowed for young girls.[5]
Designs and elements of the dress also later diverged sharply between the lower classes and the aristocratic Principalia classes from the mid-19th century onwards. The tapis for example, which was unique to Philippine women's attire, became much shorter between the 1840s to the 1860s. Due to this, they became more restricted to the native indios, while Spanish women and some mestizas avoided wearing it because of its resemblance to the delantal (aprons) worn by servants. This dichotomy was depicted in José Rizal's novel Noli Me Tángere where the mestiza protagonist María Clara wore a tapis and a baro't saya, while the pretentious Doña Consolación (a native married to a peninsular) wore European-style dresses without the tapis.[5]
^ abMiranda, Pauline (15 November 2018). "The terno is not our national dress—but it could be". NoliSoil. Retrieved 19 February 2020.
^ ab"The Filipiniana Dress: The Rebirth of the Terno". Vinta Gallery. Retrieved 19 February 2020.
^"A Guide to the Philippines' National Costume". Philippine Primer. 13 May 2013. Retrieved 19 February 2020.
^"Ensemble: first quarter 20th century, Philippine". The Metropolitan Museum of Art. Retrieved 24 February 2020.
^ abcdefgCoo, Stéphanie Marie R. (2014). Clothing and the colonial culture of appearances in nineteenth century Spanish Philippines (1820-1896) (PhD). Université Nice Sophia Antipolis.
^"Tapis". Philippine Folklife Museum Foundation. Retrieved 19 February 2020.
^"Baro't Saya". Philippine Folklife Museum Foundation. Retrieved 19 February 2020.
^Scott, William Henry (1994). Barangay: Sixteenth Century Philippine Culture and Society. Quezon City: Ateneo de Manila University Press. ISBN971-550-135-4.
March 23, 2023
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The baro t saya or baro at saya literally blouse and skirt is a traditional dress ensemble worn by women in the Philippines It is a national dress of the Philippines and combines elements from both the precolonial native Filipino and colonial Spanish clothing styles 1 It traditionally consists of four parts a blouse baro or camisa a long skirt saya or falda a kerchief worn over the shoulders panuelo fichu or alampay and a short rectangular cloth worn over the skirt the tapis or patadyong 2 La Bulaquena an 1895 painting by Juan Luna of an upper class woman from Bulacan wearing a traje de mestiza The painting is sometimes referred to as the Maria Clara due to the woman s dress The baro t saya has multiple variants known under the collective term Filipiniana including the aristocratic traje de mestiza also called the Maria Clara the Visayan kimona with its short sleeved or poncho like embroidered blouse paired with a patadyong skirt as well as the unified gown known as the terno and its casual and cocktail dress version the balintawak 1 The masculine equivalent of the baro t saya is the barong tagalog 3 Contents 1 Etymology 2 Description 3 History 3 1 Pre colonial era 3 2 Spanish colonial era 4 Gallery 5 See also 6 ReferencesEtymology EditBaro t saya is a contraction of baro at saya literally meaning blouse and skirt from Tagalog baro shirt or clothing and saya from Spanish skirt 4 Description EditThe Baro t saya is an ensemble that traditionally consists of four parts the blouse baro or camisa a long skirt saya or falda a kerchief worn over the shoulders panuelo fichu or alampay and a short rectangular cloth worn over the skirt the tapis or patadyong 2 History EditPre colonial era Edit 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 baru or bayu 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 Archipelago and malong in Mindanao a short rectangular or tube like cloth worn wrapped around at waist or chest height and secured with belts braided material or knotted over one shoulder Women also usually wore bracelets over the baro 6 These types of clothing still survive in non Christianized groups in the Philippines 5 Spanish colonial era Edit Mestizos de Manila by Juan Ravenet showing the checkered narrow pares saya of native women in the 18th century Philippines Also note the European style clothing of the men c 1792 1794 Filipina a 19th century painting of a working class woman in baro t saya by Fabian de la Rosa The Spanish clergy during the colonial period deemed the precolonial mode of dress as immodest for women and introduced the long skirt known by the Spanish name saya or falda to be worn under the tapis In the Visayas the patadyong was tolerated for longer although it was eventually also replaced with the saya in the 19th century 5 7 8 By the late 18th century the traditional everyday wear of women in the Philippines consisted of two basic pieces of clothing known as the pares pair This consisted of a saya reaching up to the ankles usually checkered and a collar less baro or camisa usually plain or stripped The name pares was more closely associated with the skirt which unlike later saya were narrow and sheath like resembling precolonial tapis They were secured at the waist by strings and had wide flat pleats along the waistline held together by pins The baro was more or less identical to precolonial baro with long narrow sleeves Like later ensembles these two pieces of clothing were usually complemented by a tapis which was now worn as an overskirt and a kerchief around the shoulders known as the panuelo fichu or alampay made from the same opaque material as the skirts 5 The fabrics used for early sayas were usually native textiles particularly textiles made by highlander Visayans in Panay Later on in the 19th century they began to use similar imported textiles most notably the cambaya imported from India 5 The narrow width of the 18th century pares saya however made them impractical for everyday life By the 1820s to 1840s the saya was replaced by a billowy western style skirt known as the saya a la mascota For women of the upper classes principalia they were usually ankle length while for women in the lower classes they usually reached down to mid calf to facilitate freer movement while working Knee length versions were also allowed for young girls 5 Designs and elements of the dress also later diverged sharply between the lower classes and the aristocratic Principalia classes from the mid 19th century onwards The tapis for example which was unique to Philippine women s attire became much shorter between the 1840s to the 1860s Due to this they became more restricted to the native indios while Spanish women and some mestizas avoided wearing it because of its resemblance to the delantal aprons worn by servants This dichotomy was depicted in Jose Rizal s novel Noli Me Tangere where the mestiza protagonist Maria Clara wore a tapis and a baro t saya while the pretentious Dona Consolacion a native married to a peninsular wore European style dresses without the tapis 5 Gallery Edit 19th century camisa from the Metropolitan Museum of Art La Yndia del Campo Tendedora by Justiniano Asuncion c 1855 La Lavandera by Miguel Zaragoza in the Museo del Prado c 1875 Una Mestiza by Juan Luna depicting a woman in a baro t saya c 1887 Woman wearing a baro t saya during the 2007 Asian Pacific American Heritage Month in Hawaii Baro t saya worn by a mestizo de sangley couple by Jean Mallat de Bassilan c 1846 A dancer wearing a modern traje de mestiza at the 2015 Richmond Filipino Festival Filipina woman wearing baro t saya while working See also EditFashion and clothing in the Philippines Barong Tagalog Manila shawl Maria Clara gown China poblanaReferences Edit a b Miranda Pauline 15 November 2018 The terno is not our national dress but it could be NoliSoil Retrieved 19 February 2020 a b The Filipiniana Dress The Rebirth of the Terno Vinta Gallery Retrieved 19 February 2020 A Guide to the Philippines National Costume Philippine Primer 13 May 2013 Retrieved 19 February 2020 Ensemble first quarter 20th century Philippine The Metropolitan Museum of Art Retrieved 24 February 2020 a b c d e f g Coo Stephanie Marie R 2014 Clothing and the colonial culture of appearances in nineteenth century Spanish Philippines 1820 1896 PhD Universite Nice Sophia Antipolis Tapis Philippine Folklife Museum Foundation Retrieved 19 February 2020 Baro t Saya Philippine Folklife Museum Foundation Retrieved 19 February 2020 Scott William Henry 1994 Barangay Sixteenth Century Philippine Culture and Society Quezon City Ateneo de Manila University Press ISBN 971 550 135 4 Retrieved from https en wikipedia org w index php title Baro 27t saya amp oldid 1144276174, wikipedia, wiki, book, books, library,
