Question: The Philippine dance similar to Cheraw dance originated in what era?

full_context: Document 1: Tinikling: Tinikling is a traditional Philippine folk dance which originated during the Spanish colonial era. The dance involves two people beating, tapping, and sliding bamboo poles on the ground and against each other in coordination with one or more dancers who step over and in between the poles in a dance. It is traditionally danced to rondalla music, a sort of serenade played by an ensemble of stringed instruments which originated in Spain during the Middle Ages.
Document 2: Ura (dance): Ura is one of the popular traditional dances of the Cook Islands, a Maori sacred ritual usually performed by a female who moves her body to tell a story, accompanied by intense drumming by at least five drummers. Moving the hips, legs and hands give off different gestures to the audience to tell a tale, typically related to the natural landscape such as the ocean and birds and flowers, but also feelings of love and sadness. The ura dance has three distinct components; the ura pa'u (drum dances), korero (legends) and kaparima (action songs). To perform the ura, women typically wear a "pareu" and a "kikau" (grass) skirt, with flowers and shell headbands and necklaces known as "ei". Men during the dance are said to "vigorously flap their knees in a semi-crouched position while holding their upper bodies steady", and they typically wear "kikau" skirts and headbands. The drumming group, an integral part of the Ura, typically consists of a lead drummer ("pate taki"), support lead ("pate takirua"), a double player ("tokere" or "pate akaoro") playing wooden gongs, and two other players playing skin drums ("pa'u" and "mango"). The finest performances of the Ura are put on in Rarotonga.
Document 3: Bagurumba: "Bagurumba"' (Bodo: बागुरुम्बा) is a folk dance of indigenous Bodo tribe in Assam and Northeast India. It is a traditional dance which is traditionally inherent to one generation to another generations. The Bodo women perform the Bagurumba dance with their colourful "dokhna", "jwmgra" (fasra) and "aronai". The Bagurumba dance is accepted as main traditional dance of Bodo people. But there are some other important dances like- Bardwisikhla dance, Mwsaglangnai dance, Dahal-tungri sibnai dance, Sikri sikla dance, Daosri delai dance, Sa-gwlao mwsanai, Kopri sibnai mwsanai and so on. All these dances are known as Kristi dance. It is also accompanied by musical instruments like kham (a long drum, made of wood and goat skin or other animal’s skin), "sifung" (flute, made of bamboo), jota (made of iron/tama), "serja" (a bowed instrument, made of wood and animals skin), and gongwna (made of bamboo), "tharkha" (a piece of split bamboo).
Document 4: Thidambu Nritham: Thidambu Nritham (dance with the replica of the deity) is a ritual dance performed in Temples of North Malabar. This is one among many rich art traditions of North Malabar. It is mainly performed by Namboothiris, and rarely other Brahmin communities like Shivalli, Karhade and Havyaka.
Document 5: Dance in Cuba: Cuban culture encompasses a wide range of dance forms. The island's indigenous people performed rituals known as areíto, which included dancing, although little information is known about such ceremonies. After the colonization of Cuba by the Spanish Kingdom, European dance forms were introduced such as the French contredanse, which gave rise to the Cuban contradanza. Contradanza itself spawned a series of ballroom dances between the 19th and 20th centuries, including the danzón, mambo and cha-cha-cha. Rural dances of European origin, such as the zapateo and styles associated with punto guajiro also became established by the 19th century, and in the 20th century son became very popular. In addition, numerous dance traditions were brought by black slaves from West Africa and the Congo basin, giving rise to religious dances such as Santería, yuka and abakuá, as well as secular forms such as rumba. Many of these dance elements from European dance and religious dances were fused together to form the basis of la técnica cubana. Cuban music also contributed to the emergence of Latin dance styles in the United States, namely rhumba (ballroom rumba) and salsa.
Document 6: Sevillanas: Sevillanas (] ) are a type of folk music and dance of Sevilla and its region. They were derived from the Seguidilla, an old Castilian folk music and dance genre. In the nineteenth century they were influenced by Flamenco. They have a relatively limited musical pattern but are rich in lyrics based on country life, virgins, country towns, neighborhoods, pilgrimage, and love themes. They are sung by a plethora of local groups, like the "Los Romeros de la Puebla", "Los Amigos de Gines", "Las Corraleras de Lebrija", "Cantores de Hispalis", and "Los del Río". Every year, dozens of new "sevillanas" on CD are published.
Document 7: Pandanggo: Pandanggo is a Philippine folk dance which has become popular in the rural areas of the Philippines. The dance evolved from Fandango, a Spanish folk dance, which arrived in the Philippines during the Hispanic period. This dance, together with the Jota, became popular among the "illustrados" or the upper class and later adapted among the local communities. In the early 18th century, any dance that is considered jovial and lively was called Pandanggo.
Document 8: Tiger game played with forty: Meurimueng-rimueng peuet ploh is a two-player abstract strategy board game from Sumatra, Indonesia. The last part of the name, ploh, is sometimes spelled "plo". It is specifically played by the Acehnese. The game was published in the book entitled "The Achehnese" by Hurgronje, O'Sullivan, and Wilkinson in 1906 and described on page 204. It is also played in Java, Indonesia where it is called Dam-daman. However, Dam-daman is also a general term for draughts or checkers in Indonesia. The game is also played in India especially in Punjab where it is called Ratti-chitti-bakri. The game is basically an enlarged version of Alquerque. It is specifically four times the size of an Alquerque board which is the same board used for Zamma. The rules are exactly those of Alquerque, except that captures are not compulsory.
Document 9: Oyilattam: Oyilattam (Tamil: ஒயிலாட்டம் ; meaning: dance of grace) is a folk dance with origins in the Madurai region of Tamil Nadu. The dance has its origins in southern Tamil Nadu and is primarily performed in Madurai district, Tirunelveli district and Tiruchirapalli district. It was traditionally a dance where a few men would stand in a row and perform rhythmic steps to the musical accompaniment, with the number of dancers increasing; over the past ten years women have also started performing this dance. Typically, the musical accompaniment is the Thavil and the performers have coloured handkerchiefs tied to their fingers and wear ankle bells. Oyilattam is one of the folk arts identified for mainstreaming by the Tamil university. Mainly Oyilattam is performed at village festivals. It is basically describing the great epics like ramayana, mahabaratha and also lord muruga's history.
Document 10: Croatian tamburica: Croatian tamburitza (tam•bu•rit•za) is a folk song played with a tambura (cousins with Russian balalaika and the Italian mandolin) and is accompanied with a dance. The origin is most commonly thought to be introduced from the Turks by way of Bosnia between the 14th and 16th century. Although, others believe that the tambura was introduced by the Persians. It was not until the 19th century that tamburitza gained popularity during several nationalist movements against the Austro-Hungarian Empire. Many societies such as Croatian, Slovak and Czech, used national folk songs and dance as an "expression of their national identity". During this time, the first Croatian tamburitza ensemble was created by Pajo Kolarić in 1847. Also, during early 20th century ethnomusicologist Professor Vinko Žganec, began to write down Croatian folk songs which in the past were not written, but passed down from generation to generation.
Document 11: Cheraw dance: Cheraw dance is a ritual dance performed in Mizoram, India, consisting of four people holding two crossed pairs of bamboo staves. It is one of the most famous dances in Mizoram, and a center of attraction during festive occasions. Similar dances are found in the Far East and in the Philippines, where it is known as Tinikling.
Document 12: Dhamail: Dhamail, variant of Dhamal, is a form of folk music and dance originated in Sylhet, Bangladesh. It is practiced in the erstwhile district of Sylhet in Bangladesh and in areas influenced by the Sylheti culture such as Cachar, parts of Shillong, Karimganj and Hailakandi Districts of Assam, parts of Tripura in India. It accompanies the use of mirdanga, kartals and many other musical instruments which are usually played by the males while the dance is being performed. This dance form is similar to musical chairs, where one by one the dancers are removed by the dancers who can dance very fast as the beats gear up the speed. This dance form mainly relates the love of Radha and Krishna and the inner significance of this dance form is that the newly wedded couple must unite their souls in such fashion.
Document 13: Baile de la Conquista: The Baile de la Conquista or Dance of the Conquest is a traditional folkloric dance from Guatemala. The dance reenacts the invasion led by Spanish Conquistador Don Pedro de Alvarado y Contreras and his confrontation with the K'iche' Maya ruler Tecún Umán. Although the dance is more closely associated with Guatemalan traditions, it has been performed in early colonial regions of Latin America at the urging of Catholic friars and priests, as a method of converting various native populations and African slaves to Christianity.
Document 14: Jianzi: Jianzi (), tī jianzi (踢毽子), tī jian (踢毽) or jianqiú (毽球), also known by other names, is a traditional Chinese national sport in which players aim to keep a heavily weighted shuttlecock in the air by using their bodies, apart from the hands, unlike in similar games peteca and indiaca. The primary source of jianzi sport is a Chinese ancient game called "cuju" of the Han dynasty 2000 years ago. Jianzi's competitive sport types are played on a badminton court using inner or outside lines in different types of jianzi's competitive sports, respectively. it can be played also artistically, among a circle of players in a street or park, with the objective to keep the shuttle 'up' and show off skills. In Vietnam, it is known as "đá cầu" and is the national sport. In the Philippines, it is known as "sipa" and was also the national sport until it was replaced by arnis in December 2009.
Document 15: Karakattam: Karakattam (Tamil: கரகாட்டம் or ""karakam" (கரகம் 'water pot') dance") is an ancient folk dance of Tamil Nadu performed in praise of the rain goddess Mariamman. The performers balance a pot on their head . Traditionally, this dance is categorized into two types- "Aatta Karakam" is danced with decorated pots on the head and symbolizes joy and happiness. It is mainly performed to entertain the audience. The "Sakthi Karakam" is performed only in temples as a spiritual offering.
ground_truth: the Spanish colonial era