The article presents an ethnographic analysis of the Circassian (Adyghe) dance competitions. It is noted that along with individual and pair dances, dances-competitions were distinguished, which the authors of the 19th century. called Lezginka or Islam. The harsh conditions of existence left their mark on the dance and musical culture of the Circassians closely intertwined with it, their songs and dances excluded open emotional manifestations, were strict and restrained. When performing lezginka, strictness and restraint were also manifested. Competition dances were very popular and performed a number of functions: they were a means of physical hardening, they brought up endurance, they were a means of self-expression, they taught young people to show will and character. It is concluded that the dance and musical culture of the Circassians (Circassians), who were one of the most numerous and dominant ethnic groups in the region, had a significant impact on similar areas of the humanitarian culture of neighboring peoples, in particular the Cossacks.
Circassians (Circassians)
dance culture
dance competition
ethnocultural interaction
imitation
lezginka
Nart epic
Cossack dance
1. Adygs, Balkars and Karachais in the news of European authors of the XIII-XIX centuries. / Compilation, editing of translations, introduction and introductory articles to the texts of V.K. Gardanov. - Nalchik: Elbrus, 1974. - 636 p.
2. Bucher K. Work and rhythm: the role of music in synchronizing the efforts of participants in the labor process. - M. : Stereotype, 2014. - 344 p.
3. Dubrovin N. Circassians (Circassians). Materials for the history of the Circassian people. Issue. 1. - Nalchik: Elbrus, 1992. - 416 p.
4. Kesheva Z.M. Dance and musical culture of the Kabardians in the second half of the twentieth century. - Nalchik: Publishing House of M. and V. Kotlyarovs (Polygraphservice and T), 2005. - 168 p.
6. Narts: Adyghe heroic epic. - M. : Main edition of scientific literature, 1974. - 368 p.
7. Tuganov M.S. literary heritage. - Ordzhonikidze: Ir, 1977. - 267 p.
8. Khavpachev Kh.Kh. Professional music of Kabardino-Balkaria. - Nalchik: Elbrus, 1999. - 224 p.
9. Khan-Girey S. Circassian legends. Selected works. - Nalchik: Elbrus, 1989. - 288 p.
10. Shu Sh.S. Folk dances of the Circassians. - Nalchik: Elbrus, 1992. - 140 p.
The culture of the Circassians (Circassians) was formed, like other national cultures, in accordance with the geographical conditions of this people. The territory of the Circassians (Circassians) has always been a strategically significant object, so their history is actually an uninterrupted series of wars against the invaders. Life in conditions of permanent war led to the formation of special principles of education. The harsh conditions of existence left their mark on the dance and musical culture of the Circassians closely intertwined with it, their songs and dances excluded open emotional manifestations, were strict and restrained.
Competition dances occupied a significant place in the dance culture of the Circassians (Adyghes), so in this article we will try to consider their influence on the development of dance culture as a whole, as well as how they reflected the realities of the ethno-cultural life of the Circassian (Adyghe) society.
The German economist K. Bücher noted that being at the center of social life, the dance could not but fix in a certain way the material and spiritual achievements of one or another formation. Consequently, each era adapted the choreography according to its needs, its level of spiritual development. Dance and musical art selected and consolidated life situations, relationships between society and the outside world. But choreographic and musical art could not but be influenced from outside.
Over time, under the influence of various external and internal factors, the content and forms of many magical song dances, dances born during the performance of various works, have changed and lost their functional significance, turned into traditional folk dances. Along with individual and pair dances, competition dances began to stand out. These dances are the authors of the 19th century. called lezginka. Adyghe educator of the XIX century. Khan-Girey described the lezginka as follows: “There was always a daredevil who jumped into the center of the circle, followed by the second, third - this is how the dance-competitions began. After a kind of performance - a ritual that marked the beginning of a dance competition, a dance began, in which the dancer demonstrated his dexterity and grace. Such dances contributed to the development of dance technique. As for another kind of dance, it consists in the fact that one, speaking in the middle of the audience, dances, making very quickly various difficult movements with his feet. He goes up to one of those present, touches his clothes with his hand, and then he replaces him, and so on. Girls also take part in this dance, but both they and men do not make indecent gestures, which happens among other Asian peoples. However, such a dance is not in respect.
It should be noted that in the XIX century. "Asians" called all the North Caucasian peoples. According to the concepts of the Circassians (Adyghes), "obscene movements" included abrupt changes in the position of the upper body, deep bends to the sides, throwing out hands with spread fingers, baring teeth, etc. Such body movements contradicted the strictness and restraint characteristic of the Circassian (Adyghe) choreography. With virtuoso movements of the legs in lezginka, the upper part of the body is usually kept straight and strict, without sudden movements, the hands with half-bent fingers are always in a strictly defined position. The well-known Adyghe organologist and ethnologist Sh. Shu notes: “It is possible that these traditions were developed back in those distant times, when the narts danced, holding an ane - a round table with dishes on their heads, developing a stable balance of the body and its smooth movement” .
In the Adyghe epos "Narts" one can find many examples of dance skills demonstrated by the heroes, and this skill was valued no less than their military prowess, as it was evidence of their excellent physical condition and endurance. This is most eloquently stated in the passage “How Sosruko first appeared on Hasse of the Narts”:
"He forgot his worries,
The merry dance began,
He swirled around,
Dishes and bowls did not touch!
The table is too wide
The dancer seemed -
Twisted around the edges
Bowls with spicy seasoning.
He dances majestic
Dance of battle and glory
Don't shake the seasoning
Without spilling even a drop
But from a violent dance
Hasa walks like a walker!” .
In the excerpt "Tlepsh and Khudim" the skillful performance of the dance by the blacksmith Khudim is also noted. This testifies to his excellent physical condition, the ability not only to masterfully dance, but also to withstand all the hardships of a military campaign. There is a direct relationship between dance skills and military training of the performer, because in both cases the decisive role is played by his physical form, stamina, and tirelessness.
Returning to the cheerful circle,
In a violent dance started off on the move.
All faster, all skillful
Dancing with a forge on his shoulder.
The skies covered the dust
The earth walked like a walker,
People were falling down
And Khudim dances more and more
And, having shaken off the forge from his shoulder,
Then he will throw it behind the cloud,
That will pick up on the fly.
And the oxen from the fierce dance,
Can't stand the shock
On the corners pushing in the forge,
Eight colliding to death,
They died with a hoarse roar.
A wide circle of dancing places,
As if the current is trampled down exactly:
So Hudim indomitable
Seven nights and days at the Narts
Restlessly, alone
Having fun around the circle.
Lezginka was mentioned by N. Dubrovin, J. Bell, J.A. Longworth and others. Dubrovin called this dance "kafenyr" - a kind of lezginka, in which one man performs the solo part. “A young sixteen-year-old boy usually came out to the middle of the platform, the sounds of a lezginka were heard, and the young dancer opened the beginning of the folk dance. The dancer either stood on the sharp toes of his chevyak, then completely twisted his legs, then described a quick circle, bending to one side and making a gesture with his hand, similar to how a rider at full gallop picks up some thing from the ground.
Competition dances performed a number of functions: they were a means of physical hardening, they brought up endurance, they were a means of self-expression, they taught young people to show will and character, etc. I.F. Blaramberg, lieutenant general of the Russian service, in 1830 was assigned to the General Staff and appointed an officer to the headquarters of the Separate Caucasian Corps, which gave him the opportunity to thoroughly familiarize himself with the peoples of the Caucasus. He visited the North Caucasus several times (1830, 1835, 1837, 1840) and noted that the dance-competition was extremely popular among the Circassians (Circassians) and made an indelible impression on the travelers who watched him: “... pas consist of small jumps, but it must be said that the position of the legs, almost always turned inward, makes them very difficult ... Two dancers stand facing each other with their arms stretched back and make jumps and various movements with their legs with amazing dexterity and ease.
The pinnacle of the performing arts was considered to be the "Dance on the toes" (or dance on the fingers). "Dance on the fingers" is known among a number of peoples of the Caucasus. Lezgins use this technological technique in Khkerdaymakam (Lezginka), Chechens and Ingush - in Nukhchi, Kalchay, Georgians - in Tserumi, Ossetians - in Rog-kafta, Zilga-kafta. “Dance-competition on socks between guys and girls existed until the 1900s. The dance began with "Zilga-kafta". Having finished it, the girl slightly lifted her dress and began the "Dance on socks." The guy did the same, but like a man, more energetically ... This dance, which required special restraint from the performers and the ability to stay on their toes to the end, lasted about 30 minutes.
The Kabardians used the "dance on the fingers" most often in "Islamei", an analogue of the lezginka. Islamey differed from other Circassian dances in the tempo and character of performance, internal energy, and advanced technique. There are several versions about the origin of the name of the dance. According to Sh.S. Shu, it is derived from the Adyghe language and consists of the words "is" - "Stick", "le" (tle) - leg, in this case "toes" and "miy" or "mis" - "here" or "here ”, but in general it translates: “stick your toes here” or “dance on your toes”. This name is quite consistent with the manner of the dance.
The heyday of Islamey falls in the middle of the 19th century, since it was during this period that the famous Eastern fantasy "Islamey" was created - the pinnacle of M.A. Balakirev. Russian composer, organizer of the "Mighty Handful" M.A. Balakirev (1836-1910), visited the Caucasus several times. The composer loved to listen to mountain musicians, repeatedly visited Kabardian and Circassian (Adyghe) villages, got acquainted with the songs and melodies of the highlanders. One of the melodies that accompanied the sparkling dance inspired the composer to write the Eastern Fantasy "Islamey" (1869) for piano. After its publication in 1870, the work quickly spread throughout the world. The famous Hungarian composer F. Liszt often played it at his concerts. For many decades, not a single major piano competition has been held in the world, the mandatory program of which would not include “Islamey” by M.A. Balakirev.
Lezginka (Islamey), being a pan-Caucasian dance, reflected the freedom-loving spirit of the Caucasian peoples. The Cossacks, and not only the Terek ones, adopted from the Caucasian peoples, in particular the Circassians, costume and dance movements. The famous French geologist, naturalist and archaeologist Frederic Dubois traveled in 1833 to the Crimea and along the Black Sea coast of the Caucasus. He got acquainted in detail with the life of the Circassians (Circassians) and Abkhazians and noted: "... the dancers adopt all kinds of pas and entresha from each other, like the Cossacks, who, it is possible, borrowed their favorite dances from the Circassians" .
Among the Terek Cossacks, the term “dance Shamil” has been preserved for a long time, which means to dance the lezginka. Currently, in some Cossack villages at weddings and celebrations, you can hear: “Now come on Shamil!”. The Cossacks borrowed recognizable movements, that is, the form, but compared to the Circassians, in their lezginka, the movements are freer, wider, the pace is slower. This was dictated by a different psychophysics of the people. Shoes were an important style-forming moment. Circassians (Circassians) danced in leggings - hence the active work of the ankle was noted. All steps were made either on the fingers or on the toes, which gave lightness and agility to the technical performance. Many movements were based precisely on demonstrating the art of finger dancing. The Cossacks danced in boots, hence the different technique.
The choreographer of the Kabardino-Balkarian Musical Theater Y. Kuznetsov notes: “The interpretation of militant movements is clearly observed in Circassian Islam. For example, " bookmark " - avoiding a blow with a saber or a saber, hand movements, copying the movements of melee weapons. Vaulting, the movements of a whip, whips, and, of course, movements imitating the movements of a horse and the flight of an eagle are imitated. Historically, this is mostly a male dance. In the Cossack lezginka, due to the long historical and cultural interaction of peoples, militant movements adopted from Caucasian Islam were reflected.
Thus, the technical complexity of competition dances required significant abilities and skills from the performer, and these skills were acquired on the basis of stable traditions developed over the centuries. Competition dances existed among the Circassians (Circassians) for a long time, and the performing arts of the people achieved a high result. The Circassians (Circassians) were one of the largest and predominant ethnic groups in the region, therefore their dance culture, and in particular competition dances, had a significant impact on similar areas of the humanitarian culture of neighboring peoples.
Reviewers:
Dzamikhov K.F., Doctor of Historical Sciences, Professor, Acting Director of the Federal State Budgetary Scientific Institution "Institute for Humanitarian Research of the Kabardino-Balkarian Scientific Center of the Russian Academy of Sciences", Nalchik;
Apazheva E.Kh., Doctor of Historical Sciences, Professor of the Department of World History, FSBEI HPE “Kabardino-Balkarian State University named after I.I. HM. Berbekov, Nalchik.
Bibliographic link
Kesheva Z.M., Varivoda N.V. Circassian (Adyghe) DANCE COMPETITIONS: ETHNOGRAPHIC REVIEW // Modern problems of science and education. - 2015. - No. 2-2.;URL: http://science-education.ru/ru/article/view?id=22443 (date of access: 02/01/2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"
The Circassians have two varieties of Islam dance, which can be conditionally defined as western and eastern. They have the same name, but belong to different genre groups, are distributed in different territories and are associated with different legends. Western Islam is danced in the Republic of Adygea, Karachay-Cherkessia and in the Black Sea Shapsugia. This is a pair dance that could be classified as a zafaq genre if not for two specific characteristics: zafaq can be performed to many melodies, and islamei can only be performed to one single melody that bears the same name as the dance; The pattern of the dance in Islam is different from the zafaq - a boy and a girl imitate an eagle and an eagle at the moment of loving courtship.
Adyghe islamy - Adyghe Islamey - an original and popular smooth pair dance with lyrical content, performed at a moderately fast pace.
The dance is rarely performed in the ritual space of weddings, but it is widely used on the amateur art stage, in school and student folklore groups, and at student youth parties. It is important for the performers to dance Islam in national costumes, since the dance is directly related to their characteristics. For example, it is very difficult to dance on toes in European shoes, as well as to depict wings only with your hands (in comparison with the wing-hands of the national costume).
There is an ancient legend about the origin of the dance. One fine day, a young shepherd named Islam drew attention to an eagle and an eagle, which soared in the azure sky in a circle, as if admiring each other from afar, and then flocked, as if wanting to express something secret. Their flight excited the young man and stirred up hidden feelings in his heart. He remembered his beloved, and he also wanted to admire her, to tell her everything that had accumulated in his soul during the time of separation. But Islam did not succeed soon, and it was not so easy for the Circassians to meet and talk with their chosen one. However, at one of the wedding celebrations he was lucky: he was invited to dance with his girlfriend. Here, imitating the manner of eagles, he applied a new dance pattern - movement in a circle. The girl understood his intention, and the young people in the dance managed to convey to each other all their feelings. And so the dance "Islamey" was born ...
In all likelihood, Islamey originated among the Adyghes after the zafak, since both dances use some of the same dance elements. Considering that more complex choreographic techniques are used in Islam, it should be considered later.
The dance is accompanied by a special tune, which throughout the 20th century was performed on the Adyghe harmonica - pschyne. The earliest recording of the tune "Islamei" belongs to the legendary Adyghe harmonist M. Khagauj. It was made in 1911 in Armavir by English engineers, representatives of Gramophon. M. Khagaudzh played the melody of "Islamey" practically without decorations, he "tuned" the chord (triad) to the long sound (longe), he very rarely used basses on the left fingerboard. The entire tune performed by Khagaudzh consisted of one knee, which was repeated 12 times.
In the future, other performers recorded an increase in the number of knees and textural changes. For example, "Islamei" by Pago Belmekhov, recorded on a phonograph and deciphered by Grigory Kontsevich in 1931, already consists of three tribes, and only the middle one is the "Khagaudzh heritage". The beginning (the first knee) and the functional cadence (the third knee) are added to it - the beginning and end of the tune. The beginning consists of two sound complexes: a long sustained sound (the highest sound of the tune) and a descending sequence, in which there are sequential, return and descending progressive constructions in the volume of the sixth. The harmonica of P. Belmekhov was in the lead in a small ensemble with the participation of rattles and vocal overtones, so the performance was full-sounding and rich. Instead of a long sustained sound, the same Pago Belmekhov used its rehearsal repetition, which reflects the musical version of the recording proposed by G. M. Kontsevich. At the same time, it is possible that the performer used bellows to imitate rehearsal repetition (audio 02).
In the performance version of Kim Tletseruk in Islamey, already 7 tribes are canonized (audio 05). The variant, notated by K. Tletseruk, began to be performed by professional musicians as a concert piece. None of the folk musicians plays all 7 tribes in one composition. Depending on the skill level of the musician, 4-5 knees are used in the tune, but none of the folk harmonists ever plays even 2-3 knees, because in this case the tune seems to them incomplete, incomplete, devoid of beauty and perfection.
Khagaudj is characterized by end and culminating longs in the form of long durations. In the end longs, a triad can be added to the reference sound, and the culminating longs are a kind of hanging on high sounds, marking the most “temperamental” fragment of the tune. After 100 years, the end and culminating longs are performed only with a textured "colorization" - a "shimmering" third or fifth "swing". The last technique very accurately imitates the sound of a two-stringed shychepshchyn - the sounding of strings tuned in a fifth. In traditional shchepshchyn playing, the alternating sound of open strings, along with a harmonically taken fifth, is a typical beginning or end constant. Therefore, a similar use of the reference fifth in playing the harmonica is perceived by ear as an imitation of the sound of a traditional violin. The “flickering” third is also partly associated with the imitation of the shychepshchyn, but the pulsating tertian tone, which determines the modal basis of the melody, is most of all associated with the rhythmic basis of the tune and the new timbre color added to the rhythm of the pkhachich (Adyghe rattles) that accompanies the tune (audio 03, 04) .
The development of the instrumental tune "Islamey" is inextricably linked with the formation of the Adyghe accordion music as a whole. The wide distribution of the harmonica in the Adyghe environment coincided with the advent of radio, which changed the auditory musical space of ethnic culture. If earlier the “public ear” was content with the playing of local musicians, i.e., accordionists of a given village or nearby settlements, then with the advent of radio, the playing space of musicians expanded to the reach of radio air. It is likely that the most expressive elements, easily memorized and assimilated by the next generation of harmonists, were fixed through selection in the oral tradition. Almost all Soviet times, the air of Adygea included mandatory 15-minute morning music programs and programs at the request of radio listeners. There are cases when novice harmonists tried to play in unison with a performer they liked on the radio. Some learned the text from the records, achieving synchronous sound. Thus, the radio accelerated the auditory-motor processes of mastering harmonica performance and provided a wide field of various performing options and intonational complexes, characteristic of both the sublocal tradition and the entire Western Adyghe region. On the one hand, through the variation and selection of the “best” intonation complexes, the number of knees in tunes increased, and on the other hand, the content of the knees themselves changed towards greater fullness and expressiveness of sound. The harmonica introduced a new modal-harmonic basis of music, which fundamentally changed musical thinking. The latent struggle between the old and the new is read in the constantly changing constructions of the harmonica and its stabilization only in the second half of the 20th century.
The solo-bourdon (poly-voiced) traditional Adyghe song, practically not heard on the radio and rarely heard in everyday culture, still remained a sign-marker of ethnic identity and cultural self-determination of the Adyghes. Harmonic thinking did not become decisive for the Western Adyghe region. Ready basses were perceived as an alien element, the resistance to them was powerful and effective. In the classical diatonic harmonica, which was created by Madin Huade, the basses still remained phonic, their harmonic nature was overcome both by the construction itself, inconsistent harmonically with the main harmonica system, and by performing forms.
Whether or not to consider harmonica music and, more broadly, harmonica culture as traditional, or agree with the opinion of individual scientists who define the entire musical culture of the oral tradition of the twentieth century as post-folklore, i.e. folklore that exists in a different cultural space, associated with the means of mass communication, amateur and academic art interacting differently with other ethnic cultures? It is impossible not to agree with the statement of I. Zemtsovsky about the presence of five "civilizations" within any modern ethnic culture. We are talking about folklore (peasant), religious, oral-professional, written-professional (professional composer creativity of the European tradition) and mass “civilizations” of culture that exist in parallel and unevenly, have different sources, intersect and feed each other. The indicated integrity is called by the scientist “systemic stratigraphy of ethnic culture”. Analyzing the intonational complexes of the Adyghe traditional violin and harmonica tunes, we are convinced that the systemic stratigraphy of ethnic culture has horizontal (“civilizational”) and vertical (historical) connections. The latter are due to the ecological laws of culture, aimed at the preservation and conservation of ethnic-sign intonational complexes.
So, during the entire twentieth century, the Adyghe musicians-harmonists have come a long way in mastering the pschyne - the Adyghe harmonica. They learned how to make sounds simultaneously with both hands, play in different positions, change the pace of performance, speed it up to the limit. The Circassians repeatedly reworked the borrowed harmonica in such a way that it was as close as possible to the traditional sound ideal. Finished harmonica basses are not used at all or are used only as phonic paint. But the main thing is that the harmonica players have learned to reproduce the violin "block-complexes" preserved in historical memory, adapting them to the unusual scale of the harmonica right neck. As a result, at the end of the 20th century, the diatonic harmonica began to sound “in the old way”, began to convey intonations and melodic turns inherent in traditional violin music.
Dance is one of the oldest art forms. The Adyghe people have been creating their own original choreography for thousands of years. Dances, music in general, have played and are playing an important role in the life of the Adygs. Circassian children began to dance from an early age ... the first step is the first dance, the kids took their first steps to the music.
Adygs believe that dances express the soul of the people. No wedding or celebration is complete without them.
The emergence and development of Adyghe dances have an interesting and deep history. They are based on religious and cult dances.
Adyghe dances are also part of the peoples of the Caucasus, which have remained practically untouched and have come down to our days in their unchanged form...
"Islamei" is a smooth pair dance with lyrical content. There is a version of the origin of Islam. One fine day, a young shepherd named Islam drew attention to an eagle and an eagle circling in the azure sky, which soared in a circle, as if admiring each other from afar, and then flew together, wanting to express something secret. Their flight reminded the young man of the hidden feelings in his heart and excited him. He remembered his beloved, and he also wanted to admire her, to tell her everything that he had accumulated during the separation, but he did not succeed soon, and it was not so easy for the Circassians to meet their chosen one. However, at one of the wedding celebrations, he was lucky: he was invited to dance with his beloved girlfriend. Here, imitating the manner of eagles, he applied a new dance pattern - movement in a circle. The girl understood his intention, and the young people in their dance managed to express all their feelings to each other. Since then, this dance was born, which was called "Islamei" - "belonging to Islam."
"Udzh" is an ancient Adyghe festive dance, usually performed by young people in pairs. The plasticity and movements of this dance are natural and simple in terms of technology, which makes it possible for performers to build intricate drawings. "Uj" is ubiquitous and has numerous variants.
There are two types of udj:
1. Ancient ritual and cult circular round dance ujkhurai (khurei). passed through the millennium and has survived to this day.
2. Modern mass paired oudzhi with varieties: t1urt1u udzh, udzhkhesht and udzhpyhu. Ujhurai - one of the culmination moments of thel'e1u - is not just a movement, but a rhythmically organized tactile rapprochement of groups of people of opposite sexes, who develop a common feeling, unity of will and action for all participants during the dance. In the Ujkhurai dance, the Circassians entered into direct communication with Tkhe. Ujhurai - an appeal to God. the dance was accompanied by the cries of the dancers, which included an appeal to God. Ujhurai is danced only by unmarried and unmarried people. During the dance, they get acquainted, make dates. T1uryt1u udzh - "pairwise", sometimes called "goshcheudzh", and this is due to the fact that this dance at one time began by order of the mistress of the house (guashe) or in honor of the princess (also guashe), who could lead the dancing couples.
"Kafe" - dance of the princes of Circassia. In the old days, it was danced by people of noble origin, which gave it such a title. Smooth, unhurried dance, with a strict and clear design. The ancient dance "Kafe" is the soul of the Adyghe people, their character, face, their pride. It shows the beauty, grandeur and inner dignity of a person, composes a hymn to courage and nobility.
"Hurome" (ritual dance)
The rite of Huurome consisted of three parts.
The first is a ritual tour of the courtyards of the village with the wishes of well-being, health, success in life to family members. The bypassers sang songs and carried baskets, bags in which they put the collected products, various sweets.
The second part of the rite is the preparation of food from the collected products and the collective meal of its participants.
After its completion (the final, third part), the youth had fun, sang, danced, played various games.
Having lost its ritual functions, this rite passed into the children's sphere. As a game, khurome existed in Circassian villages back in the 40s of the 20th century, but then it completely died out.
"Zyg'elat" is a pair lyrical dance performed at a fast pace, but with lyrical content. It is usually performed to the tunes of old folk songs.
"Adyghe l'epech1as"
(l'epech1es - "dance on your toes"), keberdey islamei (Kabardian Islamei) - fast, highly technical dances, distinguished by a special manner of performance using the movement technique on toes. Abrupt changes in the body, deep bends to the sides, throwing out hands with spread fingers, and so on, contradicted the Adyghe concepts of pride and severity. With virtuoso movements of the legs, the upper part of the body is usually kept straight and strictly without abrupt changes, the hands with half-bent fingers are always in strictly defined positions. It is quite possible that these traditions were developed back in those distant times, when the sledges danced, held on their heads 1ene - a round table with dishes, developing a stable balance of the body and its smooth movement.
"Zefak1u kafe" - paired, lyrical dances performed in a smooth and graceful manner at a moderate pace. varieties of the Adyghe zefak1ue are: zyg'egus - "resentment", "offended"; kesh'ol'ashch - "dance of the lame", "khak1uak1", etc.
There are also many varieties of Adyghe dances ("Kulkuzhyn kafe"
"Dzhylakhsteney zek1ue" (male dance),
"Khurashe", "Kafe k1ykh", "Ubykh kafe", etc.).
"Such a magnificent heritage of the Adyghe people speaks of how rich and interesting the culture of the Adyghes (Circassians) is."
MUNICIPAL
BUDGET GENERAL EDUCATIONAL
INSTITUTION
"BASIC SCHOOL No. 27"
PROJECT ON :
"Adyghe dances"
I've done the work:
Getz Maria
Supervisor:
Teuchezh L.B., Adyghe language teacher
2017-2018 academic year
Passport ……………………………………………….
Introduction……………………………………………………………………………….
Relevance of the topic, problem, purpose and objectives of the project……………………………………………………………………. ....
The main content of the project
PREPARATORY…………………………………………………………………….
BASIC…………………………………………………………………………………..
FINAL …………………………………………………………..
II Collection and processing and study of information:
What is dance?
History of Adyghe dances
The name of the Adyghe dances
Conclusion………………………………………………………………..
Conclusions, results of the project……………………………………………………….…
Bibliography……………………………………………….
Application…………………………………………………………………………
Project passport
Adyghe dances
Executor
Getz Maria
Project leaders
Teuchezh Larisa Bayzetovna
The academic year in which the project was developed
2016-2017 academic year
Cultivate a sense of unity and friendship.
Subject(s) to which the project
is relevant
Adyghe language
Project type
long term
Project implementation timeline
2016-2017 academic year
Project activity product
INTRODUCTION
Relevance
To introduce and interest the children in the Adyghe culture
Dance is one of the oldest art forms. The Adyghe people have been creating their own original choreography for thousands of years. Dances, music in general, have played and are playing an important role in the life of the Adygs. Circassian children began to dance from an early age ... the first step is the first dance, the kids took their first steps to the music.
Project theme: Adyghe dances
Target: Foster a sense of unity and friendship.
Project objectives:
To study the literature related to the history of the Adyghe culture;
To cultivate a sense of respect for culture, interest in the past, traditions and dances of the Adyghe people;
Improve your creative project skills.
The main content of the project
Circassians love dances that express the soul of the people. No wedding or celebration is complete without them.
WHAT IS DANCE?
Dance is an art form. In it, through body movements, music, images are created, a special meaning is conveyed. All the action in the dance is accompanied by music that sets the rhythm, speed and mood of the dance, which is reflected in the movements of the dancer, in the figures that the choreographer conceives, in the overall composition of the dance.
HISTORY OF ADIGE DANCES
The emergence and development of Adyghe dances have an interesting and deep history. They are based on religious and cult dances. In hoary antiquity, dances involving large masses of people were magical acts that were supposed to ensure good luck in the fight against the forces of nature, bring success in work, hunting, in battle with enemies, etc.
Adyghe dances are part of the culture of the peoples of the Caucasus, which has remained practically untouched and has survived to this day in its unchanged form. KChR is famous for a large number of dances
NAMES OF ADIGE DANCES
"Islamei" is a smooth pair dance with lyrical content. There is a version of the origin of Islam. One fine day, a young shepherd named Islam drew attention to an eagle and an eagle circling in the azure sky, which soared in a circle, as if admiring each other from afar, and then flew together, wanting to express something secret. Their flight reminded the young man of the hidden feelings in his heart and excited him. He remembered his beloved, and he also wanted to admire her, to tell her everything that he had accumulated during the separation, but he did not succeed soon, and it was not so easy for the Circassians to meet their chosen one. However, at one of the wedding celebrations, he was lucky: he was invited to dance with his beloved girlfriend. Here, imitating the manner of eagles, he applied a new dance pattern - movement in a circle. the girl understood his intention, and the young people in their dance managed to express all their feelings to each other. Since then, this dance was born, which was called "Islamei" - "belonging to Islam."
"Udzh" is an ancient Adyghe festive dance, usually performed by young people in pairs. The plasticity and movements of this dance are natural and simple in terms of technology, which makes it possible for performers to build intricate drawings. "Uj" is ubiquitous and has numerous variants.
Dance of the Uj
Kafe - dance of the princes of Circassia. In the old days, only people of noble birth danced it, which gave it such a title. Smooth, unhurried dance, with a strict and clear design. Today, few people dance it correctly, but it is believed that everyone who dances it is obliged to observe the traditions of their ancestors. The ancient dance "Kafe" is the soul of the Adyghe people, their character, face, their pride. It shows the beauty, grandeur and inner dignity of a person, composes a hymn to courage and nobility.
DANCE KAFE
ENSEMBLE "ISLAMEY"
The State Ensemble of Folk Song and Dance of Adygea "Islamei" was founded in 1991. The main goal of creating the collective is the revival and preservation of the folk songs of the Circassians.
ENSEMBLE "NALMES"
The word "Nalmes" in translation from the Adyghe language means "precious stone". Created in 1936, "Nalmes" immediately took a special place among the creative teams of Adygea. Over the 75 years of the existence of the group, many old dances have been revived.
ENSEMBLE "KAFA"
The university ensemble was created in 1957 on the initiative of the students. Initially, the ensemble was called "Kabardinka", but in 1982 it was renamed the folk dance ensemble "KAFA". During its existence, and this is more than 50 years, it has become a true school of education of love for culture, folk choreography.
ENSEMBLE "Highlander"
The folk ensemble of the Caucasian dance "Highlander" was formed in 1971. The title of the folk group was received in 1985 for a significant contribution to the development of the national culture of student youth in the North Caucasus. The ensemble is the clearest example of a large friendly multinational family in which everyone stands up for each other.
CONCLUSION
Students know and love the Adyghe dances, respect the Adyghe culture and seek to get more in-depth knowledge about the Adyghe culture and the culture of other peoples. I want to continue working in this direction and share the knowledge gained with classmates and other students.
CONCLUSION
So, dance is the oldest form of expressing feelings and emotions, and as a form of communication, dance appeared in human society much earlier than language. In every culture on our planet, dance has left a big mark, important events were celebrated with its help, sacred secrets were transmitted and even diseases were cured. The power of dance can not only cheer you up, but also find lost harmony in relation to others, with yourself and your body.
Bibliography:
Mafedzev S. Kh. Adygi. Customs, traditions (Adyghekhabze)
Christopher Ardavasovich Balajiyan "Adygea"
Bgazinokov B. Kh. World of Culture
