Culture & lifestyle of people during spanish period HISTORY 111

2. A. Society
 Mode of Dressing
 Social Classes
 Houses
B. Religion
 Religious Beliefs
C. Economic
Life
 Agriculture
 Livestock
 Trade
D. Culture
 Languages
 Music and Dance
 Art

4. Social Classes
 Peninsulares - Full-blooded Spanish living in
the Philippines and born in Spain.
 Insulares - Full-blooded Spanish living in the
Philippines and born in the Philippines as
well.
 Ilustrados (The Enlightened Ones) -Wealthy
group of individuals born in the Philippines
and were able to study abroad.
 Chinese/Spanish Mestizos - People with
mixed racial origins and economically
sufficient.

5.  Indio - Native/Full-blooded Filipinos.
 Sangley - Full-blooded Chinese living in the
Philippines.
 Naturales - brown-skinned Christianized
native Malays of the lowland and coastal
towns.
 salvajes orinfieles - savages or infidels.
 remontados - those who refused to live in towns
and took to the hills.
 tulisanes (bandits) - all of whom were considered
to live outside the social order.

6. Social Pyramid
Indio/Sangley
Chinese/Spanish Mestizos
Ilustrados
Peninsulares/
Insulares

7. Mode of Dressing
 The elegant and luxurious clothing and
accoutrements worn by the upper and middle
classes reflect the prosperity they enjoyed in the
latter half of the nineteenth century. Adapting
features of both European and indigenous
clothing, elite fashion evolved into a
metropolitan style intended to convey the
education and civility of Philippine elites.
Displaying their "enlightenment" literally on the
body, they performed for the world a refinement
which they believed made them worthy of
equality.

8. Ilustrados
Illumination
and Illusion

9. La india elegante y el
negrito amante

10. Piña and Other Luxury
Fabrications
During the nineteenth
century, las islas filipinas were
internationally renowned for the
production of garments made
of piña, that most transparent of
fabrics—decorated with exquisite
open-cutwork embroidery—
woven only in the Philippines
from the leaf fibers of the
pineapple plant.

11. Maria Clara
Costume as
Nation

12. Baro't saya

13. Houses

14. COLONIAL SPANISH
In this era, the nipa hut or Bahay Kubo gave
way to the BAHAY NA BATO (stone house) and
became the typical house of noble Filipinos. The
Bahay na Bato followed the nipa hut's
arrangements such as open ventilation and
elevated apartments. The most obvious
difference between the two houses would be the
materials that was used to build them. The
Bahay na Bato was constructed out of brick and
stone rather than the traditional bamboo
materials.

15. NIPA HUT
The nipa hut also known as bahay kubo, is an
indigenous house used in the Philippines. The
native house has traditionally been constructed
with bamboo tied together and covered with a
thatched roof using nipa/anahaw leaves.
A nipa hut is an icon of Philippine culture as it
represents the Filipino value of BAYANIHAN,
which refers to a spirit of communal unity or
effort to achieve a particular objective

18. Buildings that were built
during colonial Spanish

19. BAHAY NA BATO
The Bahay Na Bato, the Colonian Filipino
House, is a mixture of native Filipino, Spanish
and Chinese influences. In Vigan, Ilocos Sur,
excellently preserved examples of the houses
of the noble Filipinos can be admired. In Taal,
Batangas, the main street is still ligned with
examples of the traditional Filipino homes.

21. FORT SANTIAGO
Fort Santiago (Fuerza de Santiago) is a defense
fortress built for Spanish conquistador, Miguel López
de Legazpi. The fort is part of the structures of the
walled city of Intramuros, in Manila, Philippines.
The location of Fort Santiago was also once the
site of the palace and kingdom of Rajah Suliman,
chieftain of Manila of pre-Spanish era. It was
destroyed by the conquistadors upon arriving in
1570, encountering several bloody battles with
the Muslims and native Tagalogs.
The Spaniards destroyed the native settlements
and erected Fuerza de Santiago in 1571.

22. The front
entrance of
Fuerza de
Santiago in
Intramuros,
towering 40
metres high.

23. INTRAMUROS
Intramuros, located along the southern bank
of the Pasig River, was built by the Spaniards in
the 16th century and is the oldest district of the
city of Manila. Its name, taken from the Latin,
intra muros, literally "Within the walls", meaning
within the wall enclosure of the city/fortress, also
describes its structure as it is surrounded by
thick, high walls and moats. During the Spanish
colonial period, Intramuros was considered
Manila itself.

26. PACO PARK
Paco Park was once a cemetery during the
Spanish period and was constructed in the late
18th century and was used to inter victims of the
cholera epidemic which ravaged Manila in 1822.
The cemetery stopped interment and burial in
1912 (don’t know why) and in 1966 it was
converted into a national park.. This beautiful
chapel was built inside the walls of the Paco Park
and it was dedicated to St. Pancratius.

27. The cemetery is circular in shape with an
inner circular fort that was the original
cemetery and with the niches (three level of
built-in-vaults) that were placed or located
within the hollow walls. Originally the niches
cost Php 20 for a 3-year renewable lease (no
one was allowed to own the niches).The
remains of our national hero, Dr. Jose P. Rizal,
was interred here after his execution at
Bagumbayan (now Rizal Park) on December
30, 1896.

30. SAN AGUSTIN CHURCH
This is a Roman Catholic church under the
auspices of The Order of St. Augustine,
located inside the historic walled city
of Intramuros in Manila. Completed by
1607, it is the oldest church still standing in
the Philippines. No other surviving building in
the Philippines has been claimed to pre-date
San Agustin Church.

33.  Emilio Aguinaldo's house in Kawit, Cavite,
renovations designed by Aguinaldo himself, the
first President of the Philippines.

34. CAPE BOJEADOR LIGHTHOUSE
Cape Bojeador Lighthouse, also known
as Burgos Lighthouse, is a cultural
heritage structure in Burgos, Ilocos Norte, that
was established during the Spanish
Colonial period in the Philippines. It was first lit
on March 30, 1892 and is set high on Vigia de
Nagparitan Hill overlooking the scenic Cape
Bojeador where early galleons used to sail by.
After over 100 years, it still functions as a
welcoming beacon to the international ships that
enter the Philippine Archipelago from the north
and guide them safely away from the rocky coast
of the town.

35. Excavation of the Buried Building

36. To conclude its three-year archaeological
excavation of Spanish-era stone house ruins
in San Juan, Batangas, the University of the
Philippines-Diliman Archaeological Studies
Program (UP-ASP) conducted a rigorous
archaeological excavation of the second of
two Spanish-era stone house ruins located in
Barangay Pinagbayanan in San Juan,
Batangas.

37.  With a 16-member excavation team composed of graduate
students, senior volunteers, and spearheaded by Dr. Grace
Barretto-Tesoro from the UP-ASP, four trenches initially
uncovered Structure B’s foundations, until finally exposing
the entirety of its boundaries.

39. When the Spaniards came they
introduces to us the Christianity where in the
Filipino should be baptize and be converted
unto Christians. All of their ancient beliefs
was changed.

40.  Roman Catholicism
Roman Catholicism is the predominant
religion and the largest Christian
denomination, with estimates of
approximately 80% of the population
belonging to this faith in the
Philippines.[9] The country has a significant
Spanish Catholic tradition, and Spanish style
Catholicism is embedded in the culture,
which was acquired from priests or friars.

42.  The Catholic Church has great influence on
Philippine society and politics.
 The church is also dominating the people.
 They are also the one who made possible the
different old churches in the entire country.

44.  Agriculture

45.  Livestock
They raised their flocks, pigs, cows, and
other source of meat foods. In order to
feed their masters and siblings.

46.  Tobacco monopoly
 Maintaining the Philippines as a colony
became a challenge for the Spanish Empire.
Expenses incurred in running the colony were
usually paid for by a yearly subsidy (called
real situado) sent from the Philippines' sister
colony in Mexico.This financial support from
the Spanish royal court was often insufficient,
especially with expenditures in the Philippine
colony growing each year.
 Trade

48.  Trade in the Philippines centered around the “Manila galleons,” which
sailed fromAcapulco on the west coast of Mexico (New Spain) with
shipments of silver bullion and minted coin that were exchanged for
return cargoes of Chinese goods, mainly silk textiles and porcelain.There
was no direct trade with Spain and little exploitation of indigenous natural
resources. Most investment was in the galleon trade. But, as this trade
thrived, another unwelcome element was introduced — sojourning
Chinese entrepreneurs and service providers.

50.  Languages
The language spoken both Spanish and
Filipino. But other Indio using their own
dialect.

51. The jota (Spanish: [ˈxota];Valencian: [ˈdʒɔta];[1] Arago
nese: hota [ˈxota] orixota [iˈʃota];Asturian: xota [ˈʃota];Gali
cian: xota [ˈʃɔta]) is a genre of music and the associated
dance known throughout Spain, most likely originating
in Aragon. It varies by region, having a characteristic form
in Aragon,
Catalonia Castile, Navarra, Cantabria, Asturias, Galicia, La
Rioja, Murciaand EasternAndalusia. Being a visual
representation, the jota is danced and sung accompanied
by castanets, and the interpreters tend to wear regional
costumes. InValencia, the jota was once danced
during intermentceremonies.
 The jota tends to have a 3/
 Music and Dance

52.  The jota tends to have a 3/4 rhythm, although some
authors maintain that the 6/8 is better adapted to
the poetic and choreographic structure. For their
interpretation, guitars, bandurrias, lutes, dulzaina,
and drums are used in the Castilian style, while
the Galicians usebagpipes, drums, and bombos.
Theatrical versions are sung and danced with
regional costumes and castanets, though such
things are not used when dancing the jota in less
formal settings.The content of the songs is quite
diverse, frompatriotism to religion to sexual exploits.
In addition to this, the songs also have the effect of
helping to generate a sense of local identity and
cohesion

53. Jota Dance

54.  Art
Art of the Philippines is diverse.The art
includes:
 Painting
 Dancing
 Weaving
 Sculpting
 Pottery
 Other art forms

55.  Paintings
This is the Spoliarium (often misspelled Spolarium) is a painting by the
Filipino artist Juan Luna. It took eight months to finish this award winning
masterpiece on a greatly huge canvas depicting dying gladiators.This
painting was submitted by Luna to the Exposición Nacional de Bellas Artes in
1884 in Madrid, where it garnered the first gold medal (out of three).

57.  This is a series of paintings by CarlosV. Francisco or
also known as Botong Francisco. He is known for
his murals.These were specially commissioned for
the entrance hall of the Philippine General Hospital
in 1953. Declared a National CulturalTreasure, these
extraordinary works were displayed on loan to the
National Museum by the University of the
Philippines for restoration and preservation.
 These are oil-on-canvas panels, depicting the history
and development of medicine in the country. ( pre-
colonial period, the Spanish colonial period, the
American Occupation era, and the modern era of the
1950s.)

58. Weaving
 Philippine weaving involves many threads being measured,
cut, and mounted on a wooden platform.The threads are dyed
and weaved on a loom.[5]
 Before Spanish colonization, native Filipinos weaved using
fibers from abaca, pineapple, cotton, and bark cloth.Textiles,
clothes, rugs, and hats were weaved. Baskets were also
weaved and used as vessels of transport and storage, and for
hunting.These baskets were used to transport grain, store
food, and catching fish.[6] They also used weaving to make just
about all of the clothing that was worn.
 They weaved rugs that they used for quilts and bedding.The
quality of the quilt/bedding was based on how soft, how tight
together, and the clean pattern.The patterns were usually
thick stripes with different colors and with a nice pattern.
 However, during Spanish colonization, Filipinos used fabric
called nipis to weave white clothing.These were weaved with
decorative, flower designs.[6]

60.  Piña fiber is extracted from the leaves of the pineapple plant, Ananas comosus (Linn)
Merr. The plant, particularly the native or “Red Spanish” variety, has leaves that yield
excellent fibers for handweaving.
 Pineapple fiber is considered to be more delicate in texture than any other vegetable
fiber. About 60 cm long, white and creamy and lustrous as silk, it easily takes and retains
dyes. Numerous tests in Brazil, Florida, India and the Philippines have shown its
exceptional resistance to salt, vapor and traction. Pineapple fiber has also been processed
into paper of remarkable thinness, smoothness and pliability.

61. Pottery
 Traditional pot-making in certain areas of the Philippines
would use clay found near the Sibalom River. Molding the clay
required the use of wooden paddles, and the clay had to be
kept away from sunlight.[7]
 Native Filipinos created pottery since 3500.[7] They used these
ceramic jars to hold the deceased.[8]
 Other pottery used to hold remains of the deceased were
decorated with anthropomorphic designs.These
anthropomorphic earthenware pots date back to 5 BC. - 225
A.D and had pot covers shaped like human heads. [8]
 Filipino pottery had other uses as well. During the Neolithic
period of the Philippines, pottery was made for water vessels,
plates, cups, and for many other uses.[9]

63.  Pottery in contemporary times
 In contemporary period, utilitarian pottery is
very much a thriving business. Local pottery
especially in the northern part of the
Philippines such as the Ilocos region survives
through the steady local purchases of pots for
various uses: as cooking wares, containers for
drinking water, fish sauce, and other
delicacies, and as plant adornments.