Folk dance is a reflection of life, mood and culture. It was thanks to dance that people were able to express their experiences and emotions using smooth movements and thematic musical motifs. All folk Russian dances take roots in Ancient Rus', many of them have survived to this day. The most famous are round dances, dances and square dances, which you can learn more about later.
Russian folk dance
Folk dance is a harmonious combination of jumps and active movements, humor and elegant costumes. They are a reflection of the broad Russian soul, which always strives for fun. In most of the dances, the dancers tell the history of our country, its customs and the courage of the people. Often they were accompanied by songs about tsars and princes who ruled the territory of Rus' and left their mark on it.
Previously, there were also impromptu dances (dances and the mistress), as well as entire productions in which all the figures were placed in a certain order. The manner of performance, character and name could change in different regions of the country, but the dances were always very cheerful and fast.
The dance was a certain competition between dancers who wanted to attract the maximum attention of the public.
Russian round dance
Russian round dances are known all over the world. They adorned the lives of our ancestors, who tried to convey the entire history of their homeland with the help of smooth and rhythmic movements. But it is not known exactly when the round dances began.
Round dances were sent not only in the fields and forests, but also on rivers, cemeteries and vegetable gardens. These were ordinary and festive dances, which are considered one of the most ancient. Preparation for the festive round dances always took several days, when the townspeople and villagers baked pies, brewed beer and mash.
Russian square dance
Russian quadrille combined several dances, each of which is distinguished by its originality. The quadrilles were linear and square, as well as circular. Each of them involved from 4 to 16 pairs, which move with a certain frequency towards each other or towards the center of the circle.
Each of the figures had its own unique name, which was chosen in accordance with the nature of the movements or patterns of the dance. The host announced the figures using a scarf or a stomp for this.
Russian dance, as a kind of Russian traditional art, has its own centuries-old history. Even in the pre-Christian period, in the 5th-7th centuries, religious ideas left their mark on the nature of the dance. "Cyrillic" tells about 7 Russian folk dances.
1. TREPAK
Trepak is an old Russian folk dance. It is performed at a fast tempo, in two beats. The main movements are fractional steps and stamping. The movements were composed by the performer on the go. In terms of properties, it has much in common with "Kamarinskaya" and "Lady": either a single male dance, or a dance. But, unlike them, the trepak did not have its own generally accepted tune.
2. DANCES WITH THE BEAR 
The first official mention of a Russian folk dance with a bear dates back to 907, when Prince Oleg the Prophet celebrated his victory over the Greeks in Kyiv. At the gala reception, 16 dancers dressed as bears and four bears dressed as dancers performed for the guests. After the end of dinner, according to the order of the prince of the bears, it was ordered to release them on all four sides, and the dancers to be executed. As it turned out later, the blind-sighted Prince Oleg mistook the dancers for the ambassadors of the Northerners, who owed him several hundred marten skins.
3. SQUIT 
The history of this dance begins in 1113 in Kyiv, when the Grand Duke Svyatopolk died. At that time, the bricklayer Petro Prisyadka lived. He worked hard squatting with heavy stones and tools in his callused hands. Every evening, after his labor feat, he went out to Khreshchatyk and, having taken a ladle of wine and a loaf, began to jump, stretching his legs that had become stiff during the day. Vladimir Monomakh, invited by the people of Kiev to the kingdom, drove in the evening with his retinue through the city. He immediately noticed a strange dance and pointed out to Metropolitan Nicephorus the dancing fellow. Within a few days, Petro was dancing for the Grand Duke of All Rus' every breakfast, lunch and dinner. Dancing like Squat or Squat soon became fashionable in wealthy Kyiv. The fat buffoons were losing weight and learning to dance the "Squat", breaking their crooked legs on the nasty medieval sidewalks.
4. Round dance 
Popular Russian dance - round dance - dance in a circle. The circle in the round dance symbolized in ancient times the Sun - the god Yarilo. It was believed that such movements in a circle with the singing of songs would appease the sun god and bring good harvests. Today, this is only a historical fact of the religion of the paganism of the ancient Slavs, which no longer carries its semantic load in the performance of round dances (circular) dances.
5. RUSSIAN DANCE 
Russian dance is a type of Russian folk dance. Russian dances include improvised dances (dance, mistress, etc.) and dances that have a certain sequence of figures (quadrille, lance, etc.). In each region, these dances are modified in character and manner of performance and usually have their own name, derived from the name of the area or dance song. Russian dances are slow and fast, with a gradual acceleration of the tempo.
6. DANCES-IMPROVISATIONS 
Dances-improvisations, dances-competitions were very popular among the people. In them, the dancers were not constrained by a certain composition. Each performer is given the opportunity to express himself, to show what he is capable of. Such dances are always unexpected for the audience, and sometimes for the performers themselves. Guys and girls "learn" to dance-improvisations from an early age. The dancer does not want to repeat himself, to do what others do - hence the great variety of original Russian dances.
7. GAME DANCES 
A special place belongs to dances, in which the observation of the people is manifested: either about natural phenomena (“blizzard”, “blizzard”), or about any animals or birds (“Bull”, “Dergach”, “Bear”). These dances can be called game dances or game dances, since they have a very pronounced playful beginning. In his movements, the dancer does not just imitate the habits of animals or birds, but tries to give them the features of a human character. It is very important that all components are subordinated to the creation of the dance image: movements and drawings, that is, choreographic figurative plasticity, music, costume, color. At the same time, the expressive means of dance do not exist on their own, but as a figurative expression of thought. The completion of all this is achieved by the synthesis of all components.
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The art of dancing is immense in its diversity and geography of distribution. The dance is available to everyone, without division into men and women, children and the elderly.
Dance art also affected Russia, forming a separate group of Russia.
Russian folk dance became the calling card of the people and a whole category of folk amateur performances. Such a dance for each individual person turns out to be individual, because it reflects his inner state.
The common thing is that in the performance of men, the dance is characterized by wide movements, harder rhythms and a touch of humor.
And women's Russian folk dances are more fluid, graceful, majestic and at the same time very light and flirtatious. Dance performed by women is like a fragile nature - changeable and unpredictable.
Russian dance in the villages has become recognized in the world space. The opinion of folklorists says that there is no other such attractive dance in the whole world.
Given the area of the country and the number of peoples living on its territory, it is natural that in different areas, Russian folk dances differ in their performance characteristics.
Ethnic zones are distinguished: the Northern region, the Southern, the Central, the Volga region, the lands on the Russian-Belarusian and Russian-Ukrainian borderlands, the Urals, Siberia with the Far East and the dances of the Cossack regions (Kuban, Ural, Amur and others).
More than a dozen approaches to the division of Russian folk dances have been identified, but all of them are united by the difference in the choreographic component.
Types of Russian folk dances:
- round dance;
- tank;
- dance;
- dance;
- quadrille.
Names of typical Russian dances: Lady, Birch, Bull, Golubets, Crane, Cossack, Kalinka, Kamarinskaya, Matanya, Metelitsa, Tank, Trepak, Troika, Yablochko.
All the tricks of performing these dances can be mastered by enrolling in a dance school. can be found in almost any city in Russia and even outside the country. All interested foreigners can get acquainted with the culture of performing Russian folk dances.
The round dance is the most ancient type of Russian dance. It is collective with a mixed composition and includes movements in a circle. It preserves the ancient religious, ritual themes. Accompanied by song and game.
Dance and tank is an individual type of dance, either female or male. It can also be of a different nature, both religious and playful.
youngest Russian folk dance- quadrille. This dance came from France and differs from others in greater solemnity. The quadrille is firmly entrenched in Russian life throughout the country. This dance has some variations called four, six, seven, eight, lance.
Dance has become very popular and beloved among young people. This is a kind of competition, but dance. Often accompanied by ditties.
If you want to learn how to dance any of the above types of dance, you just need to enroll in a specialized school.
Read also:
Interest in one's own history and culture, and especially ethnicity, is observed today in many countries of the world. These are the corresponding motifs in clothes, and songs "with a touch of nationality." Of course, walking the streets in a kokoshnik is not the most appropriate option, but many people should take up folk dancing, especially those who are passionate about the traditions of their ancestors.
- What are Russian dances like?
- How did they dance the quadrille in Rus'?
- Who leads the round dances?
- The bunny is dancing, waving its paw ...
- Into the depths of Russian classics
What are Russian dances like?
Today it is customary to single out the main types of folk dances. Their list includes round dances, square dance and dance. But in each of them - so many varieties! They allow the dancer to show individuality, show artistry and mastery of his body, ingenuity and resourcefulness.
Some researchers also include the tanka among these dances, although this type is more typical for Ukrainian dance traditions, and in Russia it was performed only in some southern regions.
As a rule, when considering the types of Russian folk dances, they talk about the first three categories, which is why it is worth dwelling on them in more detail.
How did they dance the quadrille in Rus'?
Firstly, it is important to note that this dance itself is not originally Russian, because it came from France after all. It was there that the quadrille was danced in the salons - the Gallic version of the English country dance. The French quadrille consisted of five figures: "Pants" (the name came from a song popular at that time), "Summer", "Hen" (another song title), "Pastoral" and "Finale". The dance movements were quite complex and required great skill from the salon dancers.
In Russia, the square dance first took root at the noble assemblies, and then irrevocably went to the masses. Russian dancers introduced many of their own elements into it, in particular, all the same round dance or dance. Thus, the square dance can be safely attributed to the types of Russian folk dances.
Secondly, the features of this particular dance version deserve attention. There are several. A quadrille is a pair dance, so the number of its participants is necessarily divided by two. The number of pairs themselves is not limited. In the form of a quadrille happens:
- Corner (square). 4 couples stand on the sides of an imaginary quadrangle. Transitions occur diagonally.
- Double row (linear). Participants (from 2 to 16 pairs) line up in two lines and move towards each other.
- Circular. 2, 4 or 8 pairs move in a circle, clockwise or counterclockwise. Passages to the middle of the circle and back are also possible.
In addition, in the Russian quadrille there are up to a dozen figures, each of which is separated from the other by a pause. At this time, the dancers may clap their hands, bow or stomp. The names of the figures are related:
- with the plot of the dance ("acquaintance", "walk", "separate", "girls like hot cakes", "farewell");
- with the nature of the movement ("asterisk", "collar", "basket", "comb");
- with the place of "life" of the Russian quadrille ("Shuiskaya", "Davydkovskaya").
Often in a quadrille, the dance was combined with the performance of ditties - chanting. All the dancers sang either in chorus, or in turn, passing the baton to each other.
Who leads the round dances?
In addition to quadrille, our ancestors also paid considerable attention to round dances. This type of dance is quite ancient, since it originates from the cult Slavic dances. Ancient round dances were dedicated to Yarila, the god of the sun and vitality. And the circular structure of the dance also likened it to the sun - a fiery wheel. Round dances were led only by women, moving strictly “salting”, along the course of the heavenly body.
Over time, the dance has lost its ritual significance and has become everyday. His figures are designed for both women and men. The round dance combines dance and game types of folk dances. Participants perform special, sometimes quite intricate passages and turns, accompanying them with singing (round dance choruses) and playing out some kind of story. At the same time, they hold hands - or a ribbon, a scarf, a shawl - and make sure that the connection is not broken until the end of the round dance.
There are two main categories of round dances:
- gaming (they have a clear plot, which the accompanying song tells about);
- ornamental (here the song serves only as a musical background).
The composition of ornamental round dances can be quite complex. Participants move not only in a circle, but also in a figure of eight, in rows, a snake or in a column. They rebuild, move from place to place, weaving beautiful and clear drawings - figures - from a round dance chain. There are many of them in the ornamental version, but at the same time, the general vocabulary of the dance is restrained and even strict. The main task of the performers is to match their step with the melody as accurately as possible and to achieve high coherence in the performance of the figures.
Game round dances, on the contrary, are distinguished by the presence of an intelligible plot that the dancers have to play out - and not only to withstand the outline of events, but also to convey the emotions of the characters. At the same time, the composition of the dance is simplified, the gestures and facial expressions of the performers come to the fore. They move in circles, in pairs or in lines. Often one couple, playing a key episode of the plot, goes to the center of the circle. All sorts of props appear in the round dance: ribbons, scarves, household items and even small furniture - for example, a stool.
In this dance, as a rule, there are a lot of participants, so renting a room for a dance hall, where round dances will be led, should take this fact into account.
The bunny is dancing, waving its paw ...
There is another type of folk dance, which has the maximum number of varieties. Of course, we are talking about dancing. If other types of folk dances still involve a sufficient number of participants, then the dance may well be single, or performed in turn (dance). In addition, it happens in pairs, mass and group.
If other types of folk dances still involve a sufficient number of participants, then the dance may well be single, or performed in turn (dance). In addition, it happens in pairs, mass and group. The main feature of Russian dance is improvisation. The dance movements, initially restrained, became more and more diverse with each musical measure. The dance allowed the performer not only to show his skills, but also to express his character. The requirements for the dancer were also considerable: in order to break off complex knees, dexterity, physical strength, endurance and excellent coordination were needed.
Like all types of Russian folk dances, the dance has a rich and varied vocabulary. It includes complex steps (“fractions”, “picking”, “accordion”), spinning, jumping, squats, squats and more. The pattern of the dance consists of penetrations, runs, solo exits. Movements are not subject to any canons: each performer can apply his favorite technique at any moment of the dance. Certain standards exist only for the emotional component of the dance: daring, scope, strength and respect for partners are required from men, and majesty, smoothness, grace, but at the same time liveliness and enthusiasm from women.
Into the depths of Russian dance
Single dance is performed by dancers of any gender. It gives them the opportunity to show their ingenuity, skill and attractiveness. Pair dance is always a dialogue. A young man and a girl act out the relationship between lovers: attraction, flirting, jealousy or slight resentment.
A special form of competition between young men was dancing. It was carried out according to different rules. For example, the first dancer showed some kind of movement or a combination of them. The second one exactly repeated what he saw and added something of his own. From exit to exit, the knees became more complicated. There was another option: the dancers took turns demonstrating their techniques, and each new participant did not have the right to repeat the movements of the previous ones. The one who had previously run out of a set of knees lost.
For a long time, single dancers competed in the dance. In the last decade, the fashion has changed: now couples or small groups come out to the court. The rules of the competition remained the same, but the mass character gives it a special spectacle.
In a mass dance, neither the number of participants, nor their gender, nor their age is limited. The main task of the performer is to dance better than the neighbor. He can move from partner to partner or dance solo, use any movement, build a dance pattern at his discretion.
Russian dance - Slavic
Russian folk dance is one of the most widespread and ancient types of folk art. It arose on the basis of human labor activity. In dance, people convey their thoughts, feelings, moods, attitudes towards life phenomena.
The development of Russian folk dance is closely connected with the entire history of the Russian people. Each new era, new political, economic, administrative and religious conditions were reflected in the forms of social consciousness, including in folk art. All this brought with it certain changes in the life of the Russian people, which, in turn, left an imprint on the dance, which underwent various changes along the centuries-old path of its development.
Russian folk dance developed in various directions. In pagan times, it was a necessary accessory of religious rites. These dances have long kept traces of everyday life, including religious beliefs. But as the primitive communal system decomposed, in connection with the division of labor and the growth of cities, dancers, professional composers and performers of music, songs and dances, emerged from among the people.
In different localities they bore different names, but the essence of their activity, in its diversity, is the same: professionals of the lowest kinds of stage entertainment. They performed at squares, festivals and fairs.
The presence of diagrams, various drawings and frescoes from the past allows us to say that the dancers of that time had their own dancing technique: , echappe, jet; skidding and various jumps are practiced. For dancers, acrobatic dances on the hands - cubistry - and virtuoso technique are typical; also a dance with balancing on the hands and head - cubes and baskets.
The antiquity of dances in Rus' is evidenced by the legends that have survived to this day about pile buildings on Lake Ladoga in the pre-Christian period. Girls gathered on them and fellows "danced and played in circles."
In the 5th - 7th centuries, folk dance was performed during "games". Their character was imprinted with ancient pagan ideas. In the VIII-IX centuries, the first ancient Russian state, Kievan Rus, was formed. The adoption of Christianity contributed to the development of culture: temples were erected, writing developed. Folk art is expressed in buffoonery. Buffoons played a huge role in the development and popularization of Russian folk dance: stage forms of folk arts were born.
Russian folk dance is one of the most widespread types of folk art. Many choreographers, choreographers, and art historians have studied Russian folk dance, trying to trace its entire history of development. As a result of this, there are now a large number of textbooks, teaching aids and fiction about Russian folk dance.
Russia is a very large country and it is divided into many regions. Each region differs from each other in weather and climate conditions and the mentality of the inhabitants, therefore, the style of dancing in different regions also acquired a different color. Regional features of Russian folk dance appeared.
Spiritual origins of the dances of the ancient Slavs
Before Christianity and other monotheistic religions, all nations were pagans. The culture of earthlings dates back millennia. In both cases, the ancient history of peoples, and, most importantly, their views on the cosmos, nature and man was formed from the everyday life of ordinary people. Our modern ideas about paganism were formed on the basis of those ancient fairy tales, songs, myths of our ancestors that have come down to our days. And not the last place in the list of these ancient arts is occupied by religious and ritual choreography.
The history of mankind shows us that before man knew the art of painting, religious architecture, the art of dance was natural and inherent in man by nature itself. He looked with surprise at the fireball rolling over his head, and with a quick cheerful dance showed the life-giving power of sunlight; stood by a gusty stream, noisily falling from the mountain into the valley - dances arise in which the main figure is a “brook” symbolizing the flow of water; I felt a pleasant breath of air - a smooth dance form arises - a round dance. They conveyed a poetic vision of the beauty of their native land with their dances, conjured up a sunny image of the flowering of nature, the colors of autumn, the beauty of a green meadow.
The dances of those times were characterized by obligatory semantic content. Each dance figure had its own meaning, symbolizing a certain action, event. The people drew the general pattern of the dance from the surrounding nature, in the “golden” pattern of the dance, the silhouettes of leaves, flowers, birds, and animals “shine through”. Clusters of ripening viburnum, grass bending under the wind, swaying birch trees, ears of wheat, flax leaves, flying birds.
Slavic paganism developed along different channels: some tribes believed in the forces of space and nature; others - in Rod and Rozhanitsa, others - in the souls of dead ancestors and in spirits; the fourth - in totemic animals, etc. Some buried their dead ancestors in the ground, believing that they then help the living from that World, left them something to eat. Others burned the dead in boats, sending their souls on a heavenly voyage, they believed that if the body was burned, the soul would quickly rise to heaven and there each would die to its own star.
Naturally, these ritual actions were always accompanied by certain dances designed to facilitate the transition of the soul to another world, to call the mercy of the gods to the sacrificial fire, etc. This dance was also called on behalf of the altar-stealer - Kraditsa.
The dance was danced mainly by women, with slow and smooth movements describing the life of the other world, where the souls of the dead fly off. There was a belief that the burnt one is carried away to paradise-vyry immediately, in front of his loved ones who love him. The soul was associated with breathing and smoke, and the movements of the dancer's hands, as it were, helped the smoke rise up. Then the soul was picked up by larks, the first birds that flew in the spring from vyriya-paradise - the movements of the dance become like the flapping of the wings of a flock of birds and is called the Radunitsa dance.
With the development of religious ideas among the ancient ancestors of the Slavs, festive rites began to acquire a witchcraft, magical meaning. Performing, for example, a hunting dance, people imitated hunting for animals or birds, reproduced their movements and habits. During the dance, figurines or images of animals, which were to be hunted, were hit with spears and arrows. People were sure that if they performed this ritual correctly, they would ensure good luck in hunting.
The ancient Slavs began to endow with supernatural properties those forces and phenomena of nature, on which at that time their existence depended to a great extent. People began to attribute magical power to the sun, thunder, rain, rivers, they began to believe in various spirits, good and evil, trying to attract both of them to their side by worship and sacrifice.
In the VI - VIII centuries. cities arose in Rus', crafts and trade were further developed. All this, taken together, determined the further development of the culture, life and religion of the Eastern Slavs, which was based on the cult of nature and the cult of ancestors.
The practice of appeasing spirits and gods by sacrifice and worship led to the creation of a rather complex religious cult. This practice had a rich design and elaborate, consecrated ritual.
Material aspects of the emergence of ancient Slavic dances
The main role in the agricultural religion of the Slavs was played by rituals and holidays associated with various periods of agricultural production. By their nature, these rites and the ritual dances corresponding to them were predominantly magical in nature and constituted an integral calendar cycle.
The cycle of these rituals and holidays began in winter, at that time when the days become noticeably longer, when "the sun turns to summer." According to the beliefs of agricultural religions, this was the moment of the birth of the sun god. Many rituals and holidays were associated with this period. Among them were Christmas time, carol holidays with the final moment of this cycle - Shrovetide, which contained such rituals as inviting, or calling for spring, seeing off winter (burning its straw effigy), etc.
The future harvest was symbolized at the festival by a sheaf displayed in the front, “red”, forehead. The host and the hostess, sitting down at the festive table, called to each other, pretending not to see each other, and said: “So as not to see each other in the fall behind haystacks and wagons of bread, piles of vegetables.” The festive ritual songs and dances contained spells that allegedly ensured a good harvest and a large offspring of livestock. Many other cleansing rites were associated with the meeting of spring and seeing off winter. They were based on the belief that during the dark, cold winter a lot of different evil spirits had gathered, which should have been neutralized and expelled from the dwelling and from the fields. For this, the Slavs washed their huts and washed themselves. They collected all the garbage in the yard and burned it at the stake. The fire was made as smoky and stinking as possible. All this supposedly drove away evil spirits. Having thus cleansed themselves, the house and the yard, people went to the fields and sprinkled them with ashes from cleansing fires. Willow branches were placed in the corners of the field.
The arrival of spring is marked by the general revival of nature, the arrival of birds. With the advent of spring, people got the opportunity to go out into the fresh air, soak up the warm rays of the sun. The person experienced a joyful, high spirits. It is no coincidence that spring has always been a period of holidays.
At the same time, people believed that in the spring, with the revival of vegetation, plant spirits come to life, with the opening of rivers and lakes, water spirits, mermaids appear, and the spirits of the dead come out of the ground. Some had to be expelled and neutralized with the help of cleansing rites, others had to be won over to their side, appeased. For this, complex rituals were performed, the administration of which already required the participation of the Magi, sorcerers, who "knew how" to enter into communication with gods and spirits through a fidgety dance. Hence the name of the Vertimka dance.
As soon as the grain began to be eared, the critical moment again came, requiring the help of supernatural forces. For this, special rites existed in antiquity, which were called "spike". The central place in these rituals was occupied by a birch, a Russian beauty, covered with delicate foliage, all in earrings. The rapid and lush flowering of the birch was attributed to its special fruit-bearing power, and people tried to transfer this power to the fields.
To do this, the girls went in a crowd to the forest, where they put pies, scrambled eggs under the chosen birch and arranged a feast: they sang songs, danced round dances. Here we can recall the modified, but preserved to this day round dance “There was a birch in the field”, because. sometimes a birch was cut down and placed somewhere in the field on the border or near the village, and a festival was held here.
When the bread began to ripen, and the time for their harvest was approaching, a new cycle of agricultural rituals, spells, and festivities began.
The beginning of this cycle was the holidays dedicated to the deities Kupala and Yarila. Kupalo was the god of abundance and harvest, the god of ripe fruits of the earth. Sacrifices were offered to him at the beginning of the harvest. Festivities in honor of the god Kupala with the lighting of bonfires with "living fire" were very widespread among the Slavic peoples.
On the Kupala night, they circled the fields in round dances with the chanting of special conspiracies. The purpose of all these rituals was to protect the ripening bread from evil spirits. A relic of even more ancient beliefs dating back to the era when people did not know agriculture and only collected wild fruits and cereals, there were rituals of gathering magic herbs on the Kupala night, and in particular the search for the legendary fern flower. In many places, the holiday dedicated to Yarila was combined with fairs and fairs. During the holiday, games, dances, fist fights were arranged.
The harvest was celebrated with special holidays: zazhinki - at the beginning of the harvest and dozhinki - at the end of the harvest. The first bread of the new harvest was baked from the zazhinochny sheaf, the zhinochny sheaf was placed in the hut, in the front corner. Grain from it was poured into the first furrow during sowing or mixed with seed grain. Before starting the harvest, they sacrificed to the field spirit, with special spells they drove out the evil spirits supposedly sitting there from the sheaves. Such, in the most general terms, are the holidays and rituals of that part of the ancient Slavic population that was engaged in arable farming, i.e., its majority. Religious festivities of the inhabitants of the developing cities of Ancient Rus', merchants, military squads, fishermen, hunters had some features. These features were determined, first of all, by the nature of the economic life of these segments of the population. The city demanded permanent patrons, and military squads and merchants - permanent assistant guards on campaigns. So, we have seen that the holidays of the Slavs, having arisen in ancient times as folk holidays on the basis of economic and social relations, were not initially associated with any religious beliefs. Yes, and they were formed before the emergence of religious beliefs. In the process of further development, these deeply popular production and household holidays turned out to be permeated, filled with magical, religious content.
Basic dance figures
In Russian dances, the performers hold hands or a handkerchief, forming a variety of patterns - constructions. When building such figures, hands can be raised up, opened to the sides, lowered down, etc. Figures can be formed by the same girls or boys or boys and girls together.
Circle
In this figure, the number of participants is not limited, but there must be at least three people. Boys and girls, facing the center of the circle and holding hands, form a vicious circle. Hands move freely, without tension, at a slight angle from the body down or up. The movements in a circle, as a rule, go clockwise. Having made a soft half-turn with the body in the direction of travel, the boys and girls walk with a simple step or variable, as well as a variable step with a stomp.
"Star"
Boys and girls, standing in the back of the head, to each other in a circle, connect their right or left hands in the center of the formed circle. The opposite hands are in the third or first position. This figure can be built from both an even and an odd number of participants, but not less than three and not more than eight people. In this formation, you can move in a circle with a simple or variable step, as well as a step with a step.
"Carousel"
The basis of this figure is the "asterisk". The boys form an “asterisk” with their right hands, and the girls’ right hands are held with their left. At least three, but not more than eight pairs can participate in the construction of this figure.
"Basket"
It is formed from two circles - a circle within a circle. Standing facing the center, the boys and girls join hands, each forming their own circle. The outer one consists of boys, and the inner one of girls. "Basket" moves "accordion" or "crouching". The heads of the performers are turned in the direction of movement, towards their partner or towards the center of the circle.
"Chain"
Participants stand in one line, touching each other with their elbows. The arms are bent at the elbows and raised in front of you at chest level. The right hand, having described a semicircle from top to bottom, falls with the elbow on the left hand of the partner standing on the right and, continuing to move, pass under his left hand. The "chain" can move both to the right and to the left with an "accordion" or "crouching". The heads are turned in the direction of movement or maintain a straight position.
Handkerchief handling (female)
A) The handkerchief is located on the side of the palm turned towards the body: passing the end of the handkerchief between the index and middle fingers, we bring its short end between the middle and ring fingers towards the palm.
B) The handkerchief is located on the back of the hand, with the palm turned towards the body: passing the short end of the handkerchief between the index and middle fingers, we bring it out between the index and thumb.
The most characteristic hand positions with a handkerchief in girls
A) The right hand with a handkerchief with slightly bent fingers touches the chin. The edge of the palm is directed away from you. The left hand, bent at waist level, supports the elbow of the right hand with the palm or the back of the hand. The head is tilted towards the right shoulder.
B) The bent fingers are connected by a “lock” at chest level. The hands move slightly away from the body; elbows - at the same height with the brushes.
C) Both arms are raised up, elbows are slightly rounded and directed to the sides. The handkerchief is held by the ends with both hands and “beaten up”.
The most characteristic positions of the hands of young men
A) The right hand is bent at the elbow at chest level and clenched into a fist, directed with the back of the hand from the body. The left hand, bent at the elbow, clenched into a fist, wound behind the back and directed with the back of the hand to the body. Hands do not touch the body.
B) The left hand is wide open to the side, palm up. The head is turned in the direction of the hand. The right hand, bent at the elbow, touches the back of the head with the tips of the fingers, as if supporting the hat.
Basic dance forms
round dances
The basis of a round dance is the joint performance of a round dance song by all its participants. Dance, song and round dance are inextricably and organically linked. The round dance unites and gathers a large number of participants.
A round dance is a mass folk performance where dancing, or just walking, or playing are inextricably linked with the song. Round dances have cult-ritual, social and everyday themes. The participants in the round dance hold, as a rule, by the hands, sometimes by the handkerchief, shawl, belt, wreath. In some round dances, participants do not hold hands, but move one after another or side by side, maintaining a strict interval, sometimes they go in pairs.
The round dance is widespread throughout Russia, and each region brings something new, creating diversity in style, composition, character and manner of performance. Round dances are performed in slow, medium and fast tempos.
But in the regions of Russia there are local features of the performance of round dances associated with natural and climatic conditions, with the specifics of the way of life and work, human relationships that were formed in various living conditions. These features are manifested both in the composition of the performers, and in the rhythm, and in the content of the songs to which the round dance goes, and in the manner of performance inherent only in this area.
The performance of round dances is also affected by the variety in costumes, which differ significantly from each other in different areas and are sometimes very far from the generally accepted “Russian sarafan” to which we are so accustomed on stage. Figures are of great importance when staging round dances. Figures can be formed by girls alone, or boys, or boys and girls together, which can be arranged in various ways.
Dances
In ancient times, dances were of a ritual, cult nature, but over time they acquired a household one. Dance is the most common and favorite genre of Russian folk dance. The dance was born in a round dance and left it, breaking the round dance chain, complicating the technical basis, creating its own forms and patterns, replacing the round dance with a dance song and various musical accompaniment. Dance can express various states of a person.
The dance consists of a number of separate movements - elements that are distinguished by a characteristic manner of performance, have a Russian national flavor. Every movement in the dance is filled with meaning. A variety of movements, the number of which increases many times over due to the improvisation of the performers, is a characteristic feature of Russian dance. The performer of Russian dance has very expressive hands, head, shoulders, face, hands, etc.
Dance makes it possible to reveal personal, individual character traits. Boys and girls, men and women, teenagers and the elderly can participate in the dance. The male dance is characterized by breadth, scope, prowess, strength, attention and respect for the partner. The female dance is characterized by majesty, smoothness, nobility and sincerity, but often it is performed lively, with enthusiasm.
Each dance has its own content, plot. One of the distinctive features of the dance is individual improvisation. The dance differs from the round dance in a richer and more complex vocabulary of dance movements. In addition to enriching the vocabulary, dancing also makes it possible to complicate and diversify the spatial pattern: the dashing exits of the guys, the perky passages of the girls, the dashes, the transitions of couples of various patterns, etc. - all this creates new patterns and constructions, inherent only in dance.
Distinguishes dance from round dance and musical accompaniment. Dances go not only to songs, but to the accompaniment of various musical instruments. The songs to which the dances are performed are mostly fast, their melodies are brightly colored with accents and a pronounced active rhythm. Such songs are called dance. Dance and round dance songs converged somewhere, not always having sharply distinctive features. Performers and spectators of dances emphasize its rhythmic accents with the help of echoes, shouting, clapping and various musical instruments. The dance can be accompanied by many Russian folk instruments. Instrumental accompaniment is another main feature that distinguishes dance from round dance.
In ancient times, dances were of a ritual, cult nature, but over time they acquired a household one. Dance is the most common and favorite genre of Russian folk dance.
But the Russian solo dance is especially good, when two men compete in a wild dance, a girl and a guy dance in a double duel. The girl in him coquettishly beckons, and the young man seeks to answer her with dashing and prowess.
In solo dance, the dancer was required to perform expressive performance - high technical skills and acting talent, the ability to convey the content of the dance to the viewer. At the same time, the content was transmitted necessarily in a realistic, reliable form, without conventions and symbolism. The dance had a clear dramatic basis. All these qualities later formed the main component of Russian national culture, Russian ballet art.
Quadrille
By the number of performers, the square dance can be attributed to group dances, but its later appearance and appearance in the life of a Russian person, a peculiar construction, a clear division into pairs and figures, and a number of other features distinguish the square dance from traditional dances. Therefore, the quadrille stands out in an independent form. The quadrille originates from the salon French dance. The French quadrille began to spread among the Russian people at the beginning of the 19th century.
Among the people, the square dance has been modified for decades, improved and created anew. She acquired original movements, drawings, manner of performance, taking from the salon dance only some of the features of constructions, and the name. The Russian people made the quadrille varied in design, introducing into it many figures of Russian round dances and dances. The form of the quadrille also became richer, it began to be performed both in lines, and in a square, and in a circular construction. A different number of couples began to take part in the quadrille: 2, 4, 6, 8 and more, but always even. In some areas where there were few men, quadrilles appear, performed only by girls. If the French quadrille consisted of 5 - 6 figures, then in the Russian folk quadrille it is found from 3 to 14 or even more figures.
The names of the figures of the French quadrille had almost nothing to do with the essence of the dance. In the Russian quadrille, the figures received various names based on local characteristics, and most importantly, these names vividly characterize each figure in terms of choreography or its content. Some of the quadrille figures included elements of such types of Russian dance as single and dance. Each quadrille figure is performed to a separate common dance song or melody. Each figure is separated from the other by pauses - stops, both in music and in dance.
Before the start of each figure, the leader, usually the young man of the first couple, announces the name or serial number of the figure. Each figure almost always ends in a whirl, which most often occurs in a clockwise direction. The quadrille could be danced in rich, festive and everyday folk costumes.
The first professional performers of Russian folk dance were buffoons. In Kievan Rus, buffoonery was very popular. In those distant times, buffoons were considered creatures marked by the gods, and their art was considered a service to a deity. They formed special "bands" that wandered around Rus' and gave performances called disgrace, i.e. spectacles. The skill of performing Russian dances by buffoons was quite high.
The immediate successors of buffoon performances were games - short folk theatrical performances of a satirical nature, ridiculing human vices, depicting the eternal theme of the struggle between good and evil. The main expressive means of the games were dances and pantomime, with the help of which the content was transmitted. Dance was of lesser importance in folk comedy. Folk puppet comedy preserved the old folk dance, carefully selecting and summarizing its movements that have evolved over the centuries. Simplified, brought to perfection by the distinctness of performance, they made it possible to convey the character, the original dance techniques of Russian, Ukrainian and gypsy dances.
Types of round dance
1. Ornamental
If the text of the song accompanying the round dance does not contain a specific action, a pronounced plot, characters, then this is an ornamental round dance. The participants of the round dance walk in circles, in rows, braid various figures from a round dance chain, coordinate their step with the rhythm of the song, which is only musical accompaniment.
Sometimes ornamental round dances reveal and convey the content of the song with their pattern, construction. The content of the songs accompanying ornamental round dances is most often associated with images of Russian nature, with poetic generalizations, the collective labor of the people, their way of life. These songs are distinguished by a clearer rhythmic construction, uniting the participants of the round dance in a smooth or fast dance movement. In the drawings of ornamental round dances, the element of representation is very strong - “curling cabbage”, “braiding wattle”.
Ornamental round dances in various regions of Russia are called curly, patterned, lace, etc. This round dance is distinguished by the severity of forms and a small number of figures. The whole round dance consists of only a few figures that organically transition, shimmer, rebuild from one to another.
2. Gaming
A round dance, in the song of which there are characters, a game plot, a specific action, then the content of the song is played out by all participants in the round dance at the same time. Performers with the help of dance, facial expressions, gestures create various images and characters of the characters.
Often the characters of the song are animals, birds, and then the participants in the round dance imitate their movements and habits. In game round dances, the main thing is the disclosure of the plot, the clash of characters and the interests of the characters. Most of the themes for game round dances are contained in songs that reflect the life and way of life of the people.
The round dance organically includes a handkerchief, ribbon, wreath, stick, etc. These items sometimes serve as symbols. So a wreath symbolizes marriage, a handkerchief replaces a pillow, a feather bed, etc. In such round dances, a performer playing a role can stand out, and sometimes two or three, but most often several actors stand out.
In game round dances, the construction pattern is simpler than in ornamental ones. Compositionally, these round dances are built in a circle, or in lines, or in pairs. In the center of the circle, the action takes place, the plot is played out. In the linear construction of round dances, the participants are divided into two groups that conduct a kind of dialogue. There are certain groups of songs that require a mandatory linear construction or just a circular one. In game round dances, the artistic abilities of the participants are of great importance.
Each drawing, each formation of a round dance has its own specific name. For example: "circle", "collar", "eight", "column", "basket", "carousel", etc.
These specific constructions are called round dance figures and are an integral part.
The pattern of the dance is the arrangement and movement of the dancers on the stage. The dance pattern, like the whole composition, must be subordinated to the main idea of the choreographic work, the emotional state of the characters, which is manifested in their actions and deeds. The dance pattern is closely related to the choreographic text.
Types of dances
1. Single
It happens male and female. It most fully reflects the individuality, skill, ingenuity of the performer. Single dance is based on the improvisation of the performer. Dance performers with their movements can convey joy and fun, a deep love feeling and humor, and performers also bring movements associated with labor processes, images of birds, animals, etc.
A single dance has its own well-established traditions of performance, a certain form of construction. It starts with moving in a circle - driving - or with going into a circle and performing some kind of movement on the spot - with an outburst. This is the beginning of the dance, then its development follows and the dance reaches its climax, and the final follows.
2. Steam room
It is performed mainly by a guy and a girl, less often by a man and a woman, but older people do not take part in it. The content of the pair dance is, as it were, a cordial conversation, a dialogue of lovers. Most often these are wedding dances. But sometimes in paired dances the content and mood are somewhat different: equality or slight resentment of those who love is conveyed. Basically, pair dances are very lyrical. They do not have a strictly established pattern, rapid growth and energy of performance. She is even in pace.
3. Dance
This is a competition in strength, dexterity, ingenuity. This is a display of the artist's personality. Two guys or two men took part in the old Russian dance, the girls did not take part. The dance was performed to the accompaniment of musical instruments, less often to a song.
The dance started slowly and ended at a fast pace. With the change in the way of life, the dance began to be performed by everyone (women, men, the elderly), but only two participate. The dance is performed to well-known common melodies, sometimes to ditties. Currently, several people are dancing on the stage on one side, several on the other, but at the same time, the task and nature of the performance of the pair dance is preserved.
4. Mass dance
In this dance there is no age limit or number of participants. Mass dance is most often performed in pairs - one against the other. They dance one at a time, three at a time, four at a time, but each dancer has his own task - not only to show himself, but also to dance better than standing next to him. Each performer can enter and exit the dance anywhere, without waiting for the end. The performer can dance anywhere on the site and with any participant in the dance. Mass dance is rare on the stage.
5. Group dance
A lot of people can participate in a group dance, but more often its composition is limited to a small group of performers. Group dance has an established structure. She absorbed many figures of round dances, some group dances included single or double dance, improvisation is used.
Group dances are performed not only by boys and girls, but also by middle-aged men and women. Most often they are performed in pairs or threes. Group dances are very diverse in terms of drawings, plot and content. It always has the exact place of birth and existence. Each locality has its own traditional themes for dances, forms of construction, manner and local flavor. All dance figures are circular: they are performed counterclockwise. Group dance continues to live today, both among the people and on stage.
Types of quadrille
1. Square
It is performed by four couples standing opposite each other at the corners of the square. The movement and transitions of couples occur diagonally or crosswise. Square quadrille dance all over Russia.
Basic constructions and transitions of pairs:
a) all couples simultaneously converge to the center and then return to their places;
b) two opposite pairs go to meet each other and change places;
c) two opposite pairs go to meet each other and form a circle, after turning in a circle, the brines diverge back to their places or change places;
d) two opposite pairs converge towards the center, and the guy of one pair passes his girlfriend to the other, and he dances in front of them.
2. Linear
Can participate from 2 to 16 couples. Pairs are arranged in this order: the first pair is to the left of the viewer, in another line, opposite it, the second pair, etc. Each pair almost always dances only with the opposing pair.
Linear quadrilles have their own constructions and transitions of pairs:
a) the lines simultaneously converge with each other and diverge again, or one line stands still, and the other approaches it and moves away;
b) girls form a circle between two lines of guys; the circle may consist of guys, then the girls are in lines;
c) two lines go towards each other; one line passes under the "collars" of the other.
These quadrilles are characterized by respectful attitude of guys towards girls.
3. Circular
An even number of couples participate, most often 4 or 6, less often 8 couples. But sometimes an odd number of couples can dance in circular quadrilles, but not less than 4 couples. Pairs are arranged in a circle, their countdown is carried out in a clockwise direction. The first pair is to the left of the viewer. In circular quadrilles, the movements of couples and single transitions occur in a circle, counterclockwise, as well as to the center of the circle and back:
a) the guys stand in their places, and the girls move in a circle until they again reach their partners;
b) guys and girls simultaneously walk in a circle in opposite directions until they reach their partners;
c) girls or boys converge to the center of the circle and form an "asterisk" or a circle; having made a complete turn in this construction, they return to their pairs;
d) boys or girls form an inner circle, facing the outer circle; performers make a detour with their partners right or left shoulder forward.
There are also a number of other transitions. The circle quadrille is performed in a simple, shuffling and variable step.
Collectives and individuals
T. A. Ustinova People's Artist of the USSR, laureate of the State Prizes of the USSR and the RSFSR, chief choreographer of the State Academic Choir. M. E. Pyatnitsky. In 1969, T. A. Ustinova and O. A. Zolotova opened a unique “School-Studio of Russian Folk Dance and Singing” at the State Academic Russian Folk Choir. M. E. Pyatnitsky. At the choreographer's faculty of the Russian Theater Academy GITIS, T. A. Ustinova made several graduations of young choreographers of Russian dance. She wrote books on Russian folk dance, and their significance for Russian national culture is enormous: “Keep the Beauty of Russian Folk Dance”, “Star Dance”, “Russian Folk Dance”, “Selected Russian Folk Dances”. Her books carry goodness, joy, beauty and folk wisdom. Her work is multifaceted.
O. N. Knyazeva, an honored worker of arts of the RSFSR, is the artistic director of the dance group of the Ural State Russian Folk Choir, she staged magnificent dances: “Six”, “Seven”, “Eight”, “Bainovskaya Quadrille”, “Toptusha”, “Kruchenka”, “Strawberry-berry”, “Prikamskaya kadelka” are dances distinguished by their fast pace, energy and breadth of movements, which have rightfully become Ural Russian dance classics.
N. S. Nadezhdina is a choreographer, creator and artistic director of the Beryozka State Academic Choreographic Ensemble. People's Artist of the USSR. Laureate of the State Prize. Hero of Socialist Labor. Cavalier of the Order of Lenin. Nadezhda Sergeevna Nadezhdina knew how to penetrate deeply into the figurative structure of folk fantasy, truthfully and vividly recreate it in her works: “Troika”, “Carousel”, “Spinning wheel”, “Patterns”, “Birch”, “At the autumn fair”, “Swan” , "Sudarushka", "Jokers", "Festive Dancing", "Siberian Suite", "Coachmen", "Russian Porcelain", "Chain", "Snowstorm", "Girl's Quadrille", "Siberian Suite" and many others. Her productions were real choreographic novels. Nadezhdina extremely accurately and deeply reflected the inner essence of people's life in all its scope and rise. She revealed the riches of the Russian soul, its beautiful facets, and in each dance reflected a new, unique for its embodiment, original plastic language, a laconic, logically complete form of expression.
A prominent representative of the Ural region is the State Dance Ensemble "Ural". It was formed on August 1, 1980. The ensemble's repertoire includes choreographic compositions based on original Ural dance folklore, unique in color and choreographic vocabulary. Musical accompaniment is provided by an instrumental ensemble using folk Ural melody, arrangements of folk themes and specially created music by Ural composers. Artistic directors and chief choreographers of the ensemble: from 1980-1981 - Honored Artist of the Russian Federation Viktor Fedorovich Kopylov, who created many wonderful numbers (“Sineglazov Barabushki”, Ancient games of the Ural Cossacks “Byshenka”, dance “Vraspashku”, etc.); from 1984-1988 - Grigory Yulievich Galperin, laureate of international and all-Union competitions, Honored Art Worker of the Kabardino-Balkarian Autonomous Soviet Socialist Republic, he was given magnificent performances (“Kasli chain” (dedicated to the masters of Kasli casting), “Ural skaz”, “Prokhodochki”, etc.); from 2000-2007 - Boris Nikolaevich Sokolkin, Honored Artist of Russia, he created (the suite "The Seasons", "Factory Quadrille", "Gossips", "Pouloshnaya", etc.).
A valuable asset of the Russian people is the Moscow State Academic Dance Theater "Gzhel" - this is a collective image of Russian beauty, high examples of national culture. It was created in 1988 by People's Artist of Russia, Professor, Academician Vladimir Mikhailovich Zakharov. The creative direction of the theater, determined by its founder, is to tell the audience about the interesting phenomena of folk life, customs, traditions, about the richness of the spiritual life of the people, about the invention and fantasy of Russian craftsmen, about the innate sense of beauty, and thereby contribute its own contribution to the preservation and development of national artistic culture. Using the rich folklore material of various regions of Russia, the theater's performances recreate pictures of the past and present, wonderful creations of folk art crafts masters come to life: Gzhel, Palekh, Khokhloma, Dymkov, Enamel. The repertoire of the theater is huge and diverse. Vladimir Mikhailovich Zakharov devoted more than 30 years of his creative activity to dance and choreography. They staged such numbers as the Russian dance “Lady”, “In the Kingdom of Enamel”, the lyrical round dance “Green Grass”, the vocal and choreographic composition “Golden-domed Moscow”, “Palekh”, “Quadrille near Moscow”, the wedding dance of the Voronezh region “U pigeon - a golden head", Smolensk dance "At our Katya", vocal and choreographic composition "Khokhloma carousel", "Fairy Gzhel", Northern lyrical dance "Lance", choreographic composition "Eternal Russia", "Pavlovo - Posad Patterns", " Oh you, geese - swans", "Zhostov's motives", "Festivities", "Virtuosos", "Vyatka picture", "Geese - swans", choreographic picture "Will I go out to the river", "Volga dancing", "Balalaika and accordion", "Gate", etc.
Gennady Mikhailovich Petukhov, a talented director of the Siberian dances "Bullfinches" and "Yenisei sharkunts".
Boris Nikolaevich Burmakin, created many wonderful dances, in particular, "Poplashki", "Cheremkhovskaya Quadrille", round dance "Siberian Lyrical", "Siberian Piedmont".
Mikhail Semyonovich Godenko, artistic director and chief choreographer of the Krasnoyarsk Dance Ensemble of Siberia, whose performances enriched the treasury of Siberian Russian folk dance art "Siberian fun", "On the bridge", "Dance with rattles", "In the village, it was in Olkhovka", " At the well "and d. R.
The brightest representative of the Kuban Cossack culture is the Kuban Cossack choir. The history of this unique group began in 1811 with the creation of the Military Singing Choir of the Black Sea Cossack Host. In the program of the current Kuban Cossack Choir, you can simultaneously meet dance numbers of different, very peculiar choreographers: Grigory Galperin (“Naurskaya Dancing”, “Cossack Dance”, “The Nekrasov Cossacks Ring”), Vyacheslav Modzolevsky (“Pillow”, “Mazury”), Leonid Milovanov (“Pair after Pair”), Nikolai Vasilyevich Kubar (“Kuban Sunflowers”, “Kalina”, “Strumochek”). The dance numbers of these outstanding masters absorbed the history of their people in the process of assimilation. In them, dance elements of the peoples of the Caucasus, Russian and Ukrainian people echo.
