La Jota Manileña is a version of the Spanish jota which originated in Manila. Bamboo castanets are made use of in this dance.
La Jota Moncadeña is one of the most famous interpretation and adaptation of the Aragonese Jota dance. People of Moncada, Tarlac, call it rather by a different name: Jota Florana. The Jota Folrana was danced to the Ilocano/Yogad bamboo musical instrument ensemble called tallelet. Dance anthropologist Ramon Obusan said that the Jota Florana was danced to accompany a bereaved family to the burial of a loved one. The high pitched clicking of the bamboo clickers are supposed to represent melancholy wails. The slow portion of the dance is in fact named patay (death) or desmayo (fainting) that is performed to a very slow marcha funebre. The same dance figure is found in another Ilocano dance, the Ti Liday (which in Ilocano means 'sorrow' or grief-stricken')
The Jota Moncadeña similar to other Filipinized versions of the Spanish jota is literally mixe-up in flavor. The dance combines Spanish and Ilocano dance steps and music.
Jota Caviteña is a dance that shows strong Spanish influence. Costume is elaborately embroidered "Maria Clara" and "barong tagalog". Castanets fashioned from bamboo provide clacking sounds adding to the lifting music.
This version of jota which came from Palawan’s old capital-Cuyo Islands displays a heavy Castillan influence. The zapateados (footwork), cubrados ( curved arms), and Sevillana (flounced and ruffled) style of dress are evidently Spanish in origin. The ladies wave their mantón, or decorative shawl, while the gentlemen keep brisk pace with bamboo castanets. The music is an alternating fast and slow tempo similar to Spanish airs that accompanies dances like flamenco, jota, bolero, seguidilla and fandango
This dance was a favorite dance of the people of Laguana and Quezon during the Spanish Era.
The rare version of the Spanish jota that came from the northernmost frontier of the country: the Batanes group of islands. Settled by the gentle Ivatan people, the whole Batanes archipelago was totally Christianized by the 1700s. Spanish missionaries brought not only their religion but also their arts and ways of living. The most notable Spanish touch in Batanes’ culture could be witnessed in its dances. The Palo-palo and the Pandanggo Ivatan are favorites in the olden days among the people and so is the la jota ivatan. The La Jota Ivatan is among the rarely performed dance in the province because of the skill demanded from the dancers. The double turns, castanet drills and marked footworks are demanding and that old folks reserved the dance to the virtuosos. An interesting feature of the jota is the use of a chair as a prominent dancing prop. The male dancers have dance step routines while seated on the chair. There is also a point where the flirting dancers dance in a sort of a chase around the chair. The lovely music is another recognizable Spanish influenced melody where the characteristic lively and slow music are played. The castanets used are of the Spanish types which are round wooden castanets strung together and hung in the middle finger.
The dance has been an interesting find by the renowned dance researcher and anthropologist Ramon Obusan in one of his many forays into the study of our culture.
La Jota Cagayana originated from Enrile, Cagayan. This is done with stamping or stepping heavily on feet of every measure of waltz step. Female wears maskota and camisa with stiff panualo or Maria Clara dress. Male wears barong tagalog andblack or dark colored trousers.
Aray (from the Tagalog equivalent of “ouch”) is another Filipinized version of the famous Spanish Aragonese dance Jota. The name of the dance was derived from a final exclamation on the song that accompanies this dance. The lyrics of this song is in Chabacano Ermitense, a variant of Spanish that was spoken only in the Ermita district in the nineteenth century and is now nearly extinct. It is a flirtatious dance in which a pañuelo (triangular kerchief wrapped around the shoulder and tucked in front) and beribboned panderetas (jingled tambourines) are handled gracefully.
La Jota Isabela is a lively version of the Spanish jota which originated in Cuayan, Isabela, where it was apparently danced in balls at elegant mansions.
The Jota Cabangan is a courtship dance from Cabangan, Zambales, which is performed by the bride and groom at the traditional feast on the eve of the wedding day, called sinadag. The dance depicts the usual actions that were done by the groom in courting his bride, like whispering by the window, touching the girl's feet secretly under the table, and following the girl around.
Última edición por Lo ferrer; 23/07/2009 a las 16:38
"Donau abric a Espanya, la malmenada Espanya
que ahir abrigava el món,
i avui és com lo cedre que veu en la muntanya
descoronar son front"
A la Reina de Catalunya
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