Before the greatest Russian composer Glinka wrote his colorful orchestral play Aragonese Hota, he had to carefully study all the traditions of Spanish folk song and dance while visiting this country. But listening to this work, one involuntarily asks the question: in which region of Spain did the hot dance originate?
The emergence of dance
Despite the fact that the first sample of this dance that has come down to our times dates back to the end of the eighteenth century, it itself appeared much earlier. It is still a national dance.
The homeland of the hota dance is northern Spain, the province of Aragon. The name itself means “leap”. It is this movement that is the main one. It is believed that the hota originated from ancient hymns, which in those days meant both dance and song. The opportunity to dance was also presented at the processions and funerals, escorting the deceased to the last journey.
Khota is still a popular dance not only in its historical homeland, but also in other countries. Some peoples adopted it, making their changes. And today they want to perform hot at various festivals and social events. And some European composers included it in their music.
The essence of dance
During the dance (and this does not depend on in which region of Spain the hot dance was born) songs are performed, the subject of which is very wide: from religion and patriotism to marriage, love and sexual exploits. They are designed to rally the community, as well as to awaken the sense of national identity of people. That is why the hot dance is performed at all significant celebrations in the life of every person.
Initially, it was very difficult to execute. This is a very beautiful dance, accompanied by castanets, where the performers are dressed in
national costumes, and women and men usually dance in pairs. In the classical performance, the hota is similar to a theatrical production with extravagant costumes, which is not used in everyday life.
The steps of the dance are similar to the waltz, but they have a large number of changes. And size 6/8 is perfect for the choreographic and poetic structure of the hota.
Varieties of Hots
Despite the Iberian origin of most of the inhabitants of Aragon, their culture was greatly influenced by Moorish traditions. Therefore, regardless of in which region of Spain the hot dance was born, there are slight differences in each of its types.
For example, Hota Alcaniz is a relatively fast dance with jumps, cheers, jumps, kicks or trampoline while jumping.
Albalate has a pace that is much slower, and there isn’t such a variety of movements. The most popular and famous of all is the hota from Zaragoza. In this variety there is a variety of pace, steps and figures. The Spanish hota dance from Andorra and Calanda has a magnificent character. In the Valencian
style of dance, after a slow start, speed is gradually gaining. In the hote from Huesca, there is the influence of French dance culture. Here are some fun steps and choreographic steps. The wine harvest dance is the hota de la vendimia. Such a dance can be accompanied by percussion instruments, as well as a bandurria or guitar.
The people of this country are proud of their dance art, no matter in which region of Spain the hot dance originated.
Aragonese Hota
At the end of the first half of the nineteenth century, the Russian composer Glinka decided to go on a trip to Spain. There he made horseback riding in the vicinity of the visited cities and studied the culture of the country, its folk art. An indelible impression on the composer was made by the performance by one of the merchants on the guitar of the Aragonese jota with variations.
Glinka remembered everything, and some time later he created a play called Capriccio brilliante. Later, at the insistence of a composer’s friend, she began to be called the Spanish Capriccio. But the work gained worldwide popularity under the name Aragonese Hota.
Music of the Aragonese Hot
The work opens with a solemn, majestic intro with contrasting dynamics of sound. Further in the main section a very bright topic sounds. First, it is performed by pizzicato strings and harp, and then appears to the listener more vibrant and cheerful.
Then this theme is replaced by another, more tuneful and expressive performance of woodwinds. These melodies alternate and thereby prepare the appearance of another theme that resembles a mandolin tuned. She is playful, graceful and elegant.
Developing, these melodies give the work a severity and drama. But at the end of the picture of folk fun, all topics are intonationally close and solemn.
Groping for the future hota melody in motives interrupted by pauses, “Night in Madrid” sounds. Gradually, this topic emerges, acquires flexibility and grace. As if continuing the first, a second melody similar in character arises. Then they are repeated, intertwined and varying. In this case, a picture of a warm and fragrant southern night arises before one’s eyes.