The dragon of La Geltrú's dance for festa major holiday. Video posted by this dragon's dancers' group on their Instagram.
Festa major is one of the most loved holidays in Catalan culture. Each town celebrates it on the day of their patron saint with traditional Catalan dances that change from area to area and sometimes even from town to town. They are especially celebrated in the Southern half of Catalonia, with fire dances (devils) and fire beasts (dragons and some other legendary creatures) as well as other dances.
Each dance is accompanied by their musician band, which includes different traditional instruments (gralles —a shawm wind instrument—, bagpipes, different kinds of drums, flabiol —a small flipple flute—, etc) but for the fire dances, because of their devilish nature, they're accompanied only by drums.
Dragon dances are documented in Catalonia since the Middle Ages. In some towns, the dragon can be a generic representation, while in other towns it represents a dragon from their local legend said to have happened there.
Mezőség Hungarian Peasant Couples at Dance Houses in Szék (Sic), Transylvania, Romania (1973) - Péter Korniss
The Hungarian Táncházmozgalom (Dance House Movement) began in the 1970s as a cultural revival aimed at preserving and practicing traditional Hungarian folk music and dance. It quickly spread to Transylvanian and Moldavian ethnic Hungarian communities, where music, dance, and identity were, and to this day are, shared and sustained organically in everyday life.
Yesterday marked the 128th Philippine Independence Day (June 12), and to celebrate my home country's rich history, vibrant culture, and enduring spirit, I illustrated this special Neopets piece featuring Meridell's legendary knight, Sir Jeran, alongside my Neosona, Helena Baek (Helena White), whom I matched because I like playing matchmaker for the characters.
As shown in my artwork, I wanted to capture two completely distinct eras of Filipino fashion and performance, contrasting the elegant, Spanish-influenced colonial period with the fierce, opulent beauty of my precolonial ancestors. Seeing characters from Neopia step into the history of my own world was an incredibly fulfilling way to honor my heritage!
Cultural & Artistic Breakdown
The artwork is divided into two distinct cultural showcases:
1. The Colonial Era: The Elegance of the Cariñosa
On the left side, Jeran and Helena are depicted performing the Cariñosa, a traditional Philippine folk dance of Hispanic origin. Meaning "the affectionate one," this courtship dance is a graceful game of hide-and-seek.
Jeran trades his Meridellian armor for a beautifully embroidered Barong Tagalog, a lightweight, translucent traditional shirt woven from fine fibers, paired with classic trousers. He was waved with a crisp white handkerchief by Helena herself, a vital prop used to tease and flirt during the dance's choreography.
Helena is dressed in a magnificent Maria Clara-style baro’t saya. Her outfit features the characteristic wide bell sleeves of her blouse (baro), a delicate shawl (pañuelo) draped over her shoulders, and a striking, structural panel skirt (saya) in bold lime green and black stripes. She holds a matching turquoise folding fan, used playfully to hide her face during the dance's rhythmic steps.
2. The Precolonial Era: The Opulence of the Visayan Datu and Noblewoman
On the right side, the timeline shifts back centuries to celebrate the rich, indigenous heritage of the precolonial Visayas. This section pays homage to the legendary craftsmanship, artistry, and body modification of my ancestors.
Jeran is envisioned as a Datu (a tribal chief or sovereign prince). His fur is adorned with intricate Batok tattoos—symbolizing immense bravery, battlefield victories, and high social standing. He wears a vibrant red pudong (headcloth) adorned with fresh white flowers, a traditional practice where both men and women wore blossoms to signify beauty and status, and a wrapped lower garment (malong or bahag style pants) secured with an ornate golden belt. His chest, arms and legs were layered with heavy, interlocking precolonial gold jewelry, reflecting the immense wealth of the archipelago before Western contact.
Helena is styled as a precolonial noblewoman (babaeng maharlika or binukot princess). Like Jeran, she is also adorned with Batok tattoos—symbolizing beauty, maturity, and high social standing for women. She wears a brilliantly patterned, vivid lime green tube top or tapis with a turquoise skirt or saya, accented with a rich brown sash draped over her arm. Her fingers are adorned with janggay—elongated, pointed golden claw extensions used in traditional dances to extend the line of the hands and emphasize expressive gestures. Her look is completed with flowers, gold jewelry and premium golden South Sea pearls gathered into statement necklaces and dangling delicately from her elaborate hair accessories.
Artist Notes & Process
Blending the fantasy world of Neopets with authentic historical attire required a lot of care, especially when adapting the precolonial Visayan tattoos to Jeran's Lupe anatomy! I really wanted the gold jewelry to pop against their vibrant blue and pink palettes, and choosing contrasting colors for the colonial skirts and precolonial fabrics helped emphasize the joyful, celebratory movement of the dances.
Thank you for looking, and to all my fellow Filipinos out there—maligayang pista ng kalayaan natin! 🇵🇭✨
Extra Art: Lord Kass in Precolonial Filipino fashion
