Thejota (pronounced[ˈxota][1]) is a genre of music and the associated dance known throughoutSpain, most likely originating in eitherAragon or theValencian Community. It varies by region, having a characteristic form in Aragon (where it is the most important[1]),Mallorca,Catalonia,León,Castile,Navarre,Cantabria,Asturias,Galicia,La Rioja,Murcia andEastern Andalusia. Being a visual representation, the jota is danced and sung accompanied bycastanets, and the interpreters tend to wear regional costumes. InValencia, the jota was once danced duringinterment ceremonies.[1]
The jota tends to have a3
4 rhythm, although some authors maintain that the6
8 is better adapted to the poetic and choreographic structure. For their interpretation,guitars,bandurrias,lutes,dulzaina, anddrums are used in the Castilian style, while theGalicians usebagpipes, drums, andbombos. 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 toreligion to sexual exploits. In addition to this, the songs also have the effect of helping to generate a sense of local identity and cohesion.
The steps have an appearance not unlike that of thewaltz, though in the case of the jota, there is much more variation. Furthermore, the lyrics tend to be written in eight-syllablequartets, withassonance in the first and third verses.
The medieval word "xiota" (pronounced[ˈʃota] or[ˈʃɔta]), derives fromMozarabicšáwta "jump", ultimately fromLatinsaltāre "to jump". Due to phonetic changes, it has becomejota (pronounced[ˈxota]) in modernSpanish (reborrowed toValencian asjota[ˈxota], orcota[ˈkɔta]) andhotia (pron.[ˈxota]) orixota (pron.[iˈʃota]) in Aragonese;Valencian:[ˈxota];Asturian:xota[ˈʃota];Galician:xota[ˈʃɔtɐ].
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 Jota de Guara, Aragonese jota exhibition (Huesca, 2018) |
The Aragonese jota is the best-known expression of Aragonese folklore. It dates as far back as the 18th century, and reached the pinnacle of its splendor in the 19th century. Due to the complexities of the dance steps and manner of singing, the jota has evolved. Since the end of the 19th century, heavily choreographed versions have often been made forzarzuelas,movies, contests, festivals, and other entertainments. The most pure forms of the jota can still be found inCalanda,Alcañiz,Andorra,Albalate, andZaragoza.
Nowadays there exist many modern varieties of the jota which are performed by various folkloric groups. Among the most popular can be found:Jota de San Lorenzo (Huesca),Jota Vieja,Aragón Tierra Bravía,Gigantes y Cabezudos,La Dolores (these two are taken from the zarzuela andopera respectively of the same names), and thedanza de la Olivera.
As noted earlier, the jota of Castile tends to be accompanied byguitars,bandurrias,lutes,dulzaina anddrums. As the music plays, the dancers dance with hands atop their heads, accompanied at times bycastanets. The jota of Castile has a more sober, less airy feel to it, while the steps are quicker and sharper than what is seen in the Aragonese version. The songs accompanying the jota, which are known for their wry humor, typically deal with life, love, weddings, (often giving advice to the newlyweds) or religion.
The Philippine jota was among the most popular dances during the Spanish colonial period in thePhilippines and up to the early 20th century. It was originally performed in social gatherings (like weddings, parties and baptisms) during the Spanish period in the Philippines. The Filipinos adapted this lively and delightful dance with different versions. These versions are combinations of Spanish and Filipino dance steps and music. Notable differences between the Philippine and Spanish jotas are the use of unstrung bamboocastanets. The jota is accompanied by the Philippine rondalla often consisting of abandurria, guitar, bass and other mandolin-type instruments.
Variations of jotas differ from region to region. One such example is Jota Paragua. The Jota Paragua came from Palawan’s old capital, the Cuyo Islands, which displays a heavy Castilian influence. Thezapateados (footwork),cubrados (curved arms), andSevillana (flounced and ruffled) styles of dress are evidently Spanish in origin. The ladies wave theirmantón [es], or decorative shawl, while the gentlemen keep a brisk pace with bamboo castanets. The music is an alternating fast and slow tempo similar to Spanish airs which accompany dances likeflamenco, jota,bolero,seguidilla, andfandango.
Other examples of Philippine jotas are Jota Manileña fromManila, Jota Caviteña fromCavite and Jota Moncadeña fromTarlac.
The jota first came toAlta California duringthe Spanish period and was an important part of dance repertoires amongCalifornios.[2] Later, the renowned guitaristManuel Y. Ferrer, who was born inBaja California to Spanish parents and learned guitar from a Franciscan friar inSanta Barbara but made his career in theSan Francisco Bay Area, arranged jotas for the guitar.[3] During the early 20th century, the jota became part of the repertoire ofItalian American musicians in San Francisco playing in theballo liscio style.[4] Two jotas collected bySidney Robertson Cowell for theWPA California Folk Music Project in 1939 were played by bands of different national origins: one wasMexican American, the otherPortuguese American.[5]
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Some composers, both Spanish and non-Spanish, have made use of the jota in various works:
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