The jota is another dance in 3-4 time. Every province in Spain has its own jota, but the most famous variations are those of Aragón, Valencia, and Navarre. It is accompanied by the guitar, the _bandarria_ (similar to the guitar), small drum, castanets, and triangle. Mr. Hale says that its origin in the twelfth century is attributed to a Moor named Alben Jot who fled from Valencia to Aragón. "The jota," he continues, "is danced not only at merrymakings but at certain religious festivals and even in watching the dead. One called the 'Natividad del Señor' (nativity of our Lord) is danced on Christmas eve in Aragón, and is accompanied by songs, and jotas are sung and danced at the crossroads, invoking the favour of the Virgin, when the festival of Our Lady del Pilar is celebrated at Saragossa." Havelock Ellis's description of the jota is worth reproducing: "The Aragonaise jota, the most important and typical dance outside Andalusia, is danced by a man and a woman, and is a kind of combat between them; most of the time they are facing each other, both using castanets and advancing and retreating in an apparently aggressive manner, the arms alternately slightly raised and lowered, and the legs, with a seeming attempt to trip the partner, kicking out alternately somewhat sidewise, as the body is rapidly supported first on one side and then on the other. It is a monotonous dance, with immense rapidity and vivacity in its monotony, but it has not the deliberate grace and fascination, the happy audacities of Andalusian dancing. There is, indeed, no faintest suggestion of voluptuousness in it, but it may rather be said, in the words of a modern poet, Salvador Rueda, to have in it 'the sound of helmets and plumes and lances and banners, the roaring of cannon, the neighing of horses, the shock of swords.'"