Padernal, Abel Jr. (2015) The Philippine Jotas: Its Motif and Cultural Values. Masters thesis, West Visayas State University.
Full text not available from this repository.Abstract
The present qualitative study determined the similarities and differences in terms of dance steps, hand and arm movements, costume, direction, formations, music and props used of six Philippine Jota dances. It attempted further to ascertain the cultural values that the different Jotas studied would like to establish. The dance literature of the six Philippine Jota dances (Jotabal, La Jota Moncadena, Jota Rizal, Jota de Manila, La Jota San Joaquina, and La Jota Sevillana) were analyzed using a researcher-designed matrix. The result showed that similarities in dance step and patterns included: waltz, series of steps, point, cross-step, brush step, stamp and step-hop. As to hands, arms, and body movement, arms in second position, arms in fourth position, girls holding their skirt while boys' hands on waist and arms down at sides were used. Cut, waltz balance, sway balance with a close are dance steps in Jota Rizal only; slide cut, slide step, ekis, tortillier, foot circle on air, sarok with a jump were the dance steps found in La Jota Sevillana. Change step is employed only in Jota Moncadena, four-step turn and quarter turn are turns in Jota Rizal, while cross-step turn was used in Jota Manila. La Jota Moncadena, Jota de Manila, and La Jota San Joaquina are performed with a pair of bamboo castanets held in each hand by the dancers. The Maria Clara style of costume for girls and the barong tagalog with black trousers were the costume used by all Jotas. All Jota studied have similar line formation and direction employed, however, they also have their own direction and formations used. Results further showed that the music of five Jota studied is in 3/4 time signature, but Jotabal is a combination of 2/4 and 3/4 time signature. The cultural values portrayed included respect for authority or elder, hospitable, friendly, respectful, readiness, happy spirit as well as being optimistic, and the capacity for endurance despite difficult times. Filipinos' courage to face situations despite uncertainties is also shown. The arms, hand positions and movements are associated with truth, honesty, allegiance, and submission. The desire to be with a group and together with a group is strongly portrayed in the formation used. The 3/4 time signture which is from moderate to fast mirrors the happy, hardworking, and willingness to take risk of the Filipinos.
| Item Type: | Thesis (Masters) |
|---|---|
| Uncontrolled Keywords: | dance, dance criticism, folk dance, La Jota |
| Depositing User: | Machine Whisperer |
| Date Deposited: | 25 Mar 2018 03:04 |
| Last Modified: | 25 Mar 2018 03:04 |
| URI: | http://philippineperformance-repository.upd.edu.ph/id/eprint/3192 |
Actions (login required)
 |
View Item |