Every nation wants its history to be remembered, traditions and culture to be respected. There are no two identical states on Earth. Each has its roots and unique features- highlight. This is one of these wonderful peoples and will be discussed further.
The Caucasus is a region of high mountains, excellent wines and hot Caucasian blood. However, many years ago, when this region was still wild and unbridled, the amazing Lezgin people (Caucasian nationality) lived here, awakening the modern civilized Caucasus to life. They were people with a rich and ancient history. For many centuries they were better known as "legs" or "leks". Living in the south, he constantly defended himself from the great ancient conquerors of Persia and Rome.
Nationality "Lezgin": history
A long time ago, several original mountain tribes united in order to create their own state, unlike anyone else, with its own spiritual culture and deep traditions. It was early XIII centuries. Well, they succeeded perfectly, because today the Lezgins (nationality) live in the southernmost territories of Russia and the Republic of Azerbaijan. For a long time they inhabited the Dagestan region, which now and then passed into the possession of new invaders. The inhabitants of that area at that time were called "emirs of Lezgistan". Over time, the state broke up into many small khanates that fought for their independence.
People who honor traditions
Let's take a closer look at this nationality. Lezgins have a rather bright and explosive character. This Caucasian people has long honored the customs of hospitality, kunakry and, of course, blood feud. It is noteworthy that the correct upbringing of children plays a very important role in their culture. Surprisingly, they begin to educate the baby even when he is in the mother's womb. This is probably what distinguishes the Lezgins. Nationality has many interesting traditions. Here is one of them.
If women could not have children, that is, they were childless, they were sent to the sacred places of the Caucasus. In case of success, namely the birth of children of different sexes, families who were friends with each other promised each other in the future to marry children. They sincerely believed in the healing power of sacred places and took such travel seriously. Some argue that this custom was formed as a result of a desire to strengthen friendship and family ties between certain families.
Ancient rites and modern life
Lezgin - what kind of nation is this? Let's take a closer look below. Despite their small numbers, the Lezgins have quite fundamental moral standards, which are associated with long-standing traditions.
Of the wedding customs, one of the most striking can be distinguished - the kidnapping of the bride. The most interesting thing is that such a tradition was practiced both with the consent of the bride, and without it. As it turned out, there was no ransom as such. For the young, a certain payment was simply made to her parents. Perhaps today it reminds some of some kind of purchase and seems not quite worthy, but practice shows that most of the locals treated this with joy and great enthusiasm.
Eastern traditions of hospitality
Lezgins have a special attitude towards guests and the elderly. They are given special respect. Old people are not allowed to perform hard work, and guests are not allowed to do household chores at all, even if they urgently ask for it. All the best is given to guests: they sleep on the most comfortable bed, even if the owners can stay overnight on the floor. Sometimes you want many nations today to be able to better study their culture and learn something useful for themselves from there, especially with regard to how to treat guests. People today have achieved a lot, but have lost something valuable - an understanding of the true nature of human relationships.
Oriental cultures, in principle, differ from others in their special attitudes towards women. They have always been considered in the East as secondary members of society. Lezghin culture is no exception, but it is safe to say that, despite this situation, men have always treated Lezghins with deep respect. It was considered a great shame for the Lezgi family to raise a hand against a woman or somehow insult her dignity in some other way.
Spiritual heritage or what religion is the Lezgins national?
What can be said about spiritual heritage ancient Lezgins? Today, the majority professes Islam. Scholars readily admit that religious culture people has not been thoroughly studied, but its roots, of course, go back to paganism and are largely intertwined with folk mythology. For example, the Lezgins still have a rather curious idea of how the amazing planet Earth. They believe that she rests on the horns of Yaru Yats (Red Bull), he, in turn, stands on Chiehi Yad (translated " big water"). Here is such a rather interesting construction. Although it somewhat contradicts scientific data, some believe in it very sincerely. These are the unusual ideas about the world that the Lezgins had. The nationality, whose religion is Islam, is quite original.
famous all over the world
Some are outraged that these religious teachings are saturated with mythology and quite often contradict generally accepted concepts of common sense. Modern life this people largely adopted the foundations of modernity. They certainly honor traditions, but they are much less fanatical about them than before. Special attention of tourists and travelers attracts national dance Lezgins. Today there are very few people who have never heard of Lezginka.
This original and bewitching dance has long been danced by the Lezgins. This nationality is quite original, and the dance is a confirmation of this. How long ago the lezginka arose and how old it is is not known for certain. Some suggest that it originates from ritual Caucasian dances.
Lezginka is a very dynamic and full of movement dance. By the way, it was the Russians who gave it its modern name. Cheerful and cheerful music, to which this dance is performed, did not leave many indifferent famous composers. Some of them even slightly changed or interpreted the old traditional melody in a different way.
Every nation on earth has its own language, spiritual and material culture, history, their national sacred symbols and ethnic identity. Naturally, in the course of historical development, the culture of any nation, interacting with its neighbors, undergoes certain changes.
An essential part national culture is the folklore of the people, which contains almost all of its spiritual culture. Nature did not deprive the Lezgins in terms of spiritual culture. More than 300 folk dance and song melodies, texts have survived to this day. folk songs, hundreds of fairy tales and legends, thousands of sayings and proverbs, heroic songs “BalqIandallaz sinel kugvai rush” (“Horsewoman prancing on a rock”), “Kvantsin gada” (“Stone boy”), “Chulav kyil” (“Black head”) , the epic “Sharr-Vili, which is about 3 thousand years old and much more. The thinking and worldview of the people, their cultural and historical traditions are perfectly preserved in clothes and in the surprisingly diverse and richest Lezgin cuisine in the Caucasus. The Lezgi language has retained an extensive sectoral vocabulary, indicating the diverse activities of the Lezgins in different historical periods.
The etymology of the word Lezgin comes from the word lek (eagle, liver). The eagle was the totem sign of the Lezgins. The eagle was considered an angel who carried the soul of the deceased to heaven. The deceased was hung on a tree and watched when an angel would fly for his soul. The eagle flew in and pecked at the liver of the deceased (remember the myth of Prometheus chained to the Caucasus Mountains, to which the eagle flew and pecked at his liver!) If the eagle flew in quickly, then it was considered a good sign that Ra (the Sun) took the soul of the deceased. If the eagle did not fly at all, then it was believed that a great sin had been committed in life by a person. In Lezgi mythology, the sun (Ra) is often directly associated with the golden eagle. Therefore, “eagle” and “liver” among the Lezgins are denoted by the same word “lek”. This name has also been transferred to the ethnos. In the future, due to the impossibility of adequately displaying the word LEKH in another script, in particular, Arabic, where there are no sounds “E” and “K”, LEK turned into LAK. And then, through the suffix of the place “Z” and the Iranian “stan” (“place”), LAK turned into LAKZ and LAKZISTAN, which gave the people the name Lakzan-Lakzin-Lezgin.
Many nations have their own ritual dances. The Lezgins also had and have them: the dance of hunters, the dance of the shepherd, "arasar", "zhengi" - martial dances, and many others. The dance "Lezginka" has preserved the echoes of distant times - pagan beliefs and rites. The whole dance in its various productions and performances was basically a special ritual before a hunt or before a fight. Dressed in clothes with feathers of eagles, the young men imitated the movements of eagles chasing prey and driving it into a trap. Then the eagle rushes at the prey and takes it. Girls acted as prey (partridge, dove, dove, falcon). This is how “lekyerin kul” was born - the dance of eagles. Over time, the dance turned into a kind of competition of young men in horse riding and courage (throwing knives), in grace and grace, speed and dexterity. Proudly spreading his arms-wings and standing on his fingers, the jigit-eagle, as if in flight, describes smooth circles around the turtle-dove girl, and then speeds up the movements in order to finally take possession of the prey. Thus, the young men showed their prowess and temperament in front of the girl, so that she would pay attention only to him, so that she would choose him from many “eagles”. And the girl, with her graceful and smooth dance-flight, showed her special treatment to the chosen one and chose the most daring, most dexterous horseman to improve the offspring of the "eagles".
Everyone liked the bold, sparkling, daring dance and quickly spread to everyone. neighboring nations. The Georgians called it "lekIuri", the Iranians - "Lazgi", the Dagestan peoples - "Lezginka". Under this name, the dance has spread throughout the world and is known in all distant corners of the planet.
The Lezgins themselves do not call it a Lezginka, because it is already clear whose dance. The Lezgins have many modifications of this dance: “Khkadardai kyul” (“Jumping, galloping dance”), “Zarb kyul” (“Quick dance”), “Avara kavkha” (“Impoverished headman”), etc.
The "fast" folk dance is mentioned in the songs and fairy tales of the Lezgins. According to one legend, a girl performed such a dance when she heard mushtulukh (good news) that her brothers defeated the enemy and were returning home. heroic song"Horsewoman prancing on a rock." The sparkling "Lezginka" was also danced by the hero of the epic of the same name Sharvili. Enemies put peas under his feet in order to defeat him when, slipping on peas, he falls ...
“Today dance at Lezgin weddings, holidays, many song and dance melodies are performed. But “fast” dances are especially popular and loved by young people. At such events, boys and girls get accustomed to each other, get to know each other. The young man with a look and a polite gesture of the hand invites the girl he likes to dance. Young people will explain their feelings in the language of dance. When the girl finishes the dance and is about to leave, the young man, as it were, blocks her way. And the girl herself chooses: to continue the dance or leave. If the girl decided not to dance anymore and leave, then the young man, putting his right hand to his heart and bowing slightly, thanks the girl for the dance. There is a kind of taboo in the Lezgi dance: a young man, no matter how close he comes to a girl during a dance, should not even touch her dress. This is considered a great insult and a challenge to men of the girl's kind. And such insults often ended in bloodshed and blood feuds.
During the conquest of Lezgistan by the Arabs, songs and dances were banned, although they were performed. IN Soviet period the song and dance culture of the peoples acquired a new development.
In the light of the disputes often circulated in the press and on the Internet about the origin of the Lezginka dance, about its belonging to some people, I would like to say that today the Lezgin folk dance has become a dance of the peoples of the entire Caucasus and even beyond. Of course, Lezginka has changed, cultivated. Many peoples of the Caucasus bring their traditional elements, their national color, their innovations into it. Today "Lezginka" has turned into a dance of friendship between peoples, and represented by the ensemble of the same name, it is a hallmark of the culture and art of the Republic of Dagestan.
Lezginka is familiar to everyone. This dance is danced at concerts, city squares, weddings and just on the road. He inspires some, irritates others.
Dance features
The peoples of the Caucasus have many common features conditioned by their genetic affinity - from the famous "mountain temperament" to linguistic and cultural proximity. One of the most famous common symbols of the culture of the peoples of the Caucasus is the Lezginka dance, which traditionally symbolically expresses all the diversity of the mountain worldview.
The dance exists under different names among the Balkars and Karachays, Ossetians, Dagestanis, Abkhazians, Kalmyks, Kuban Cossacks, Nogais, Kabardians, Circassians, Abazins, Adyghes, Chechens, Georgians, Armenians, Azerbaijanis and many other peoples.
The dance is accompanied by a rhythmic and accelerating musical accompaniment in size 6/8, the orchestra includes harmonica, daurbas (percussion instrument), accordion, zurna, rattles, mountain violin, harp, three-stringed balalaika. Music and dance are necessarily accompanied by clapping.
Lezginka has a deep symbolic meaning - ancient foundation dance is a story about an eagle and a swan. In the form of an eagle, a man dances, alternating the pace of the dance from slow to swift, like an eagle, now soaring, now diving, and spreading his arms as if they were wings. The woman opposite moves smoothly, imitating swan article and graces, gradually accelerating, following the partner. Men compete with each other, trying to show the best dexterity and the most incredible movements at maximum speed. Lezginka can also be performed with weapons, which gives it additional militancy.
Performance techniques
Lezginka exists in many variations, and each nation dances it in an original way. Three types of dance can be distinguished, each of which is distinguished by its unique performance.
The first and most common is the male single lezginka. It is performed both at the wedding and before the fight.
The second is a female single lezginka, much more rare. Here the girl imitates the movements of a swan: the plasticity of her hands is slow and graceful, and her gaze is slightly directed downwards.
The third type of lezginka is a pair dance, in which the eagle seems to soar above the swan, symbolizing love desire.
Mythological origins
As a rule, the origin of the Lezginka is associated with tribal dances, hunting rites and ancient totemic rituals. The very word "Lezgin" is believed to go back to the word eagle (lek), which, obviously, was among the Lezgins and some others. Caucasian peoples totemic sign. The hunter's dance, which is a special rite before a hunt or a fight, imitated the movements of a totem animal - an eagle, rushing at a prey (a girl).
Over time, the ritual dance could turn into a horse rider competition. It is no coincidence that lezginka was loved and loved to be performed at weddings - in that symbolic space where the "eagles" need to conquer their "swans" by demonstrating prowess and grace.
The dance was a kind of way to show her sympathy to the partners she liked, because the girl in the dance could indicate the direction of the flight to the young man she liked, and he, in response, could try not to let her go away from him, while not even touching the girl’s dress. Obviously, the dance was perceived symbolically as an expression of love passion, and therefore it was unacceptable to cross the border of what was permitted within the framework of public space.
Early ethnic history Lezghins are closely connected with one of ancient states on the territory of Azerbaijan and South Dagestan - Caucasian Albania. The ancient author Strabo (65 BC-24 AD) wrote that the population of Albania spoke 26 languages. One of them belonged to the Legs / Leks - the ancestors of the real Lezgins, who lived in the Eastern Caucasus, whose language was state language Caucasian Albania. As part of the ancient state formation "Caucasian Albania", the ancestors of the current Lezgins, Rutuls, Tsakhurs, Aguls, Tabasarans, Archins, Budugs, Krytsy, Khinalugs under the common ethnonym "Leki" were its main military and political force. In the early Middle Ages, the Lezgins were, according to the description of contemporaries, the "Shirvan Stronghold". And in the Arabic sources of the 9th-10th centuries there is information about the kingdom of the Laks in South Dagestan.
The invasion of the Romans, Persians, Arabs led to the collapse of Albania - part of the Albanian-Lezgin tribes left the coastal regions and went deep into the mountains of the southern forts of the Caucasus, creating original ethnic communities there. Over time, in the 5th-10th centuries, the language, life and culture of these communities developed their own characteristics due to economic and political isolation. This is how the Lezgi, Tabasaran, Agul, Tsakhur, Rutul, Archa, Kryz, Budukh, Khinalyg and Udi languages and nationalities were formed, which became the main components in the process of forming a single Lezgi group of languages.
The region where the Lezgins lived began to be called Lezgistan. The region constantly became the object of invasions of the Turks, Arabs, Tatar-Mongols.
After the Russian wars of conquest in the Caucasus in the XIX century. and the accession of Azerbaijan and the entire Caucasus to Russia between the newly formed Baku province and the Dagestan region, a border was drawn along the Samur River. The milestone held in 1860 was also fixed after the establishment of Soviet power and the collapse of the USSR.
As a people who had traditions of state structures since ancient times, as a people who were the first in the CIS to adopt Christian faith in the II - century and the Muslim faith in the VIII century and occupying a military-strategic position between the sea and the Caucasus Range, as well as waging countless wars with the Romans, Persians, Arabs, Turks, the Lezgin tribes used to unite into a single nation with a single language, a single self-name like "Leki-Lekzi-Lezgi",
currently unfairly disadvantaged in Dagestan, and in Azerbaijan their situation can be equated with genocide.
Dance "Lezginka"
Today in the world it is difficult to find a person who would not know the incendiary dance "Lezginki". From time immemorial, trade routes passed through the Caucasus, uniting Europe with the eastern countries.
European travelers who visited here drew attention to a beautiful and previously nowhere visible dance, which was danced by local peoples, called "Lezgins".
What is a "lezginka"? This is a kind of competition between young people - fast, temperamental, requiring great strength and dexterity from a young man, and smoothness, grace from a girl. The famous Lezgin dance is nothing more than an echo of ancient pagan beliefs and rituals, one of the main elements of which was the image of an eagle. This image is accurately reproduced by the dancer, especially at the moment when he, rising on his toes and proudly spreading his arms-wings, smoothly describes circles, as if about to take off.
Lezginka music, with a clear rhythm and energetic movements, has attracted the attention of many famous composers. So, Glinka in "Ruslan and Lyudmila", Rubinstein in "The Demon" placed a stormy, full of elemental strength and passion "lezginka". The composition has remained popular to this day - it is often referred to and contemporary performers.
1. Language and history of Caucasian Albania (excerpt)
As the names of all peoples in the world and the word lek (lek) - "Lezgin, eagle" means eagle people. Neighboring peoples perceived the word lek as the name of a certain people, and the leks themselves put the concept of "eagle-man" into the word lek. Hence the name of the dance - lezginka - as a human dance, in contrast to the dances of birds, animals ...
2. From the Great Soviet Encyclopedia
Lezginka, the Lezgin folk dance, is widespread throughout the Caucasus. Kabardians, Ossetians, Avars, Chechens, Ingush, and others have their own varieties of L. time signature 6/8. The melody is clear and dynamic. The pace is fast. L. is a dance-competition demonstrating the dexterity, virtuosity, and tirelessness of the dancers.
Lekuri, Kartuli ( old name- lekuri), Georgian folk pair dance. Also known as lezginka. Formed in Kartaliniya and Kakheti. Musical size 6/8. Performed to the accompaniment of an instrumental ensemble (pipes, zurnas, beats). Classical examples of K. in the operas "Daisi" and "Abesalom and Eteri" by Paliashvili.
Islamey, Islamy, folk dance of the Kabardians and Adyghes. Lezginka genus. I.'s melody is performed on the violin and harmonica, accompanied by a pkhatsyk (ratchet of 4-5 wooden plates). I. was given an artistic interpretation by the composer M. A. Balakirev in his oriental fantasy "Islamey" for pianoforte (1869).
Friedrich Bodenstedt (April 22, 1819: Peine, near Hannover - April 18, 1892, Wiesbaden), German writer, translator. Studied in Göttingen and Munich. In 1841-43 he was a home teacher in Moscow, then taught at a gymnasium in Tiflis, where he took lessons in Oriental languages from the Azerbaijani poet Mirza Shafi Vazeh. He was acquainted with A. I. Herzen, M. Yu. Lermontov, was in correspondence with N. A. Nekrasov, F. I. Tyutchev, A. K. Tolstoy, I. S. Turgenev .... K independent works B. belong to the poem "Lezginka Ada" (1853), the tragedy "Dmitry" (1856), "Emperor Pavel" (1876) ...
3. Why are Lezgins called Lezgins. The role of totemism in the origin of some Caucasian ethnonyms (excerpt)
I. Gadzhimuradov, [email protected], Bonn, Germany
The famous Lezgin dance - Lezginka (also known in Iran as Lezgi and in Georgia as Lekuri - Lek "Lezgin, Dagestan"), which is almost unchanged among all Caucasian peoples without exception, is nothing more than an echo of ancient pagan beliefs and rituals, one of the main elements of which was the image of an eagle. This image is accurately reproduced by the dancer, especially at the moment when he, rising on his toes and proudly spreading his arms-wings, smoothly describes circles, as if about to take off. The name of a similar Georgian dance kartuli, in all likelihood, also comes from the word kard and originally meant "falcon, eagle dance" (see photo). It is natural that the Lezginka is named so in accordance with the ancient totem of the Lezgin-speaking peoples and is the original national and ancient ritual dance Lezgin (hence the name Lezgi / Lezginka).
4. Lezginka
European travelers who visited Dagestan several centuries ago drew attention to a beautiful and previously nowhere visible dance that was danced by the local peoples, called them common name"lezgins" .....
Probably there is no such person who does not know this beautiful incendiary dance. I have come across such a situation more than once when people find out that I am a Lezghin, then they smile and say: “Ah, Lezginka:”, and remember this incendiary dance. Lezginka is really our folk dance. And our ensemble "Lezginka" in Dagestan is known not only in our republic, in our country, but also abroad. And that Lezgin is bad, who does not know how to dance the Lezginka.
Ancient Lezgin music and dance culture had a great influence on the formation of culture throughout the Caucasus. Famous world dance "Lezginka". Who doesn't know him? The origins of this dance were the great talented Lezgi people, because it took centuries to become so widespread, to be so loved by many peoples! Lezgi culture, including the Soviet period, was either destroyed, destroyed, or appropriated. It only remains for us here to give the names of the Lezgin folk dance melodies collected by our esteemed Zabit Rizvanov. Words and melodies from them are lost. Maybe someone remembers them, write it down and save it.
Here are some names of Lezgin folk dance melodies given in the book "History of Lezgins" by Rizvan and Zabit Rizvanov: Lezginka, Apai, Muleili, Terekma, Magi Dilber, Perizada, Akyusha, Qavumar, Peker Baha, Gilyar, Shagsenem, Kerem, Qarid rush, Qizilgul , Seguierar and others.
The basis of Lezginka was and remains such dances as Dagarin tavatar, Zegmetchiyar, Mekhyer, Gatfar, Kvepayunrikai ibarat askerin kul, Kunshidin rush, Dallay, Klaniburun makyam, Dagalarin makyam, Lezgi kul, Sharvili and many others
The famous Lezgin dance "Lezginka" (also known in Iran under the name "Lazgi, Lezgi", in Georgia "Lekuri", which means - Lezgins (leks) dance), which is almost unchanged among all Caucasian peoples without exception, is neither nothing but an echo of ancient pagan beliefs and rituals, one of the main elements of which was the image of an eagle. This image is accurately reproduced by the dancer, especially at the moment when he, having risen on his toes and proudly spreading his arms-wings, smoothly describes circles, as if about to take off. It is possible that in ancient times this ritual dance was performed in a special costume, decorated with eagle feathers. Eagles and some other birds are still considered sacred by the Lezgins. Their shooting and eating is considered the gravest sacrilege. These prohibitions are undoubtedly connected with the taboo of totemic animals, common among many peoples of the world.
The well-known Greek legend about Prometheus chained by Hephaestus on the orders of Zeus to the rock Caucasus mountains, and about an eagle pecking at his liver, is an allegorical description by the ancestors of the Indo-Europeans of the ritual rite of burial of the Caucasian highlanders, alien to them. Prometheus, who was punished by the sky god Zeus for stealing the heavenly fire and giving it to people, is, in all likelihood, collectively Caucasian-speaking highlanders, who, earlier than other peoples, mastered the secret of casting and forging metals. Under the fire in the Greek legend, of course, one should understand not a fire, but a special fire in a special furnace of the highlanders, with the help of which Caucasian-speaking blacksmiths managed to melt and cast metals. The episode with the theft of heavenly fire and its transfer to people is explained simply, given that before the invention of the ancestors of the Caucasian, Anatolian and Balkan highlanders of smelting furnaces, only the gods owned fire (lightning, red-hot volcanic lava), capable of melting metal. It is no coincidence that the executor of punishment to Prometheus was the god of fire and blacksmithing, Hephaestus, whose functions undoubtedly indicate his volcanic origin.
It should be especially noted that the Lezgins use the same word lek to designate the liver and the eagle. There can be no doubt that this "coincidence" is an echo of long forgotten religious rituals. The intersection of the concepts of "eagle", "liver", "soul", "dream" finds its continuation in other East Caucasian languages: Lezgi Erziman "dream, wish" (cf. tab. arzu "desired, cherished"), which in no way may be a borrowing from the Turkic or Iranian languages, corresponds, for example, to Chechen. erzu "eagle" and chamal. ertsim "golden eagle" (cf. Urartian artsib - presumably also "eagle").
The most ancient population of Asia Minor, the memory of which was preserved, among other things, in the ethnonym Leleg brought to us by ancient Greek sources, called themselves, probably, also by the name of the bird - their totemic sign. The characteristic headdress (made of bird feathers) of these ancient inhabitants of Western Asia and neighboring European regions allows us to give the etymology of the ethnonym Leleg (cf. Lezg. legleg, Avar. laklak "stork", Lak. leluhkhi "bird", rut. eagles", tsez. lela "feather; wing", from the East Caucasian substrate comes the Azeri lelek "bird feather"), which could mean "people-birds, winged people".
The name of a similar Georgian dance, kartuli (karduli), in all likelihood, also comes from the Lezgi name kard - falcon, the flight of which is imitated by the dancer. All his mood, all his feelings, the dancer expresses in this dance. During the war, "Lezginka" served as a ritual dance of our warriors to raise their spirits.
Also, "lezginka" served as a reason for getting to know a young man and a girl, because the harsh laws of the mountains do not allow girls to go out alone on the street and it was not easy for young people to get to know each other. Basically, girls always gathered at weddings, and then the young man, having made some movement, calls the girl to dance. In the dance, when the girl was about to leave, the young man blocked her way in every possible way, but in no case was it possible to touch the girl, there were cases when they were killed for this.
Now LEZGINKA is a dance of friendship, love and happiness.
5.About Lezginka
www.lezginka.net - Lezginka - International music and dance competition named after Patimat Omarova for the best performance of lezginka
Unique in composition ancient culture peoples of Dagestan. Each of its species is archaic, highly artistic and at the same time surprisingly modern, having passed today with its powerful genetic reserves and the memory of the people into the 21st century, into the 3rd millennium.
Folk applied art, myth-making, folk poetry and music, rich folklore, theatre, dance. Each of them is the whole world wealth and diversity, traditions and forms of existence. All of them are intertwined and inseparable in a single Dagestan culture. Being genuine monuments of culture, each of these phenomena is worthy and necessary. scientific study, museumification, separation into separate specialized scientific institutions for the study, fixation, preservation and promotion of their own cultural achievements. Official Russian science and culture is sufficiently engaged in these issues. But today more and more requires new, innovative, narrowly oriented and detailed actions in the light of impending globalization, leveling the features of each of the national cultures.
Art is a kind of language of communication. And dance in this sense is the most versatile and accessible. Especially if this is a Lezginka dance - a dance of all the peoples of such a diverse country as Dagestan. It accumulates, reflects and preserves everything in itself - applied art - costumes and jewelry; legends and rituals, customs - dance pattern, forms of movements, special laws and proportions of behavior in it; folk music - a wealth of folk melodies, musical instruments, centuries-old playing skills; theater - dance as a part general action associated with a certain event, people. And, in the end - the dance in Dagestan, and especially the "lezginka" are the most important element of the lifestyle of all the highlanders, is an unsurpassed and not fully disclosed phenomenon of the unification of peoples.
In every ethnically isolated village of Dagestan, to this day, we can observe special forms, movements, plasticity and melody ...... a general "mountain" dance. Male, female, girlish, childish... But they all remain local manifestations of national cultures. But by right, the Lezginka was, is and will remain national. Moreover, under its banner are all the mountain peoples of the Caucasus - from Georgia to Ichkeria. Everyone knows it, everyone loves it, everyone dances it. And no one specifically teaches her. With the birth of a person, apparently, its special exciting rhythm is laid, which from an early age brings a person into a circle. Today the dance "Lezginka" is rightfully calling card Dagestan, a symbol of peace and openness of our people.
But all this is a cultural and historical reality, which we have no right to exploit mercilessly without giving anything in return. Dance as a phenomenon of national culture must be known, preserved and multiplied in generations.
Today we see how a certain swagger, lightness, and simplification are more and more mixed with universal love. But everyone knows that "Lezginka" is not just a dance, but a standard of stateliness, beauty and nobility. Time takes its toll - the melody is blurred, the melody is leveled, the forms and movements of the dance are simplified, a certain secret, the secrecy of the deep meaning inherent in it, disappears into oblivion. The couple is a man and a woman. Together from beginning to end, and each has its own special role, put together in a dialogue of a conversation that only they can understand. After all, for many centuries it was dance, along with song and poetry, that was the true and only form of explaining one's feelings.
How much can be learned from this beautiful, at first glance accessible and so tempting dance "Lezginka". And in order to understand all this better, one must not only love and dance one's native dance, but also know it.
The history of the Lezginka, its laws and varieties, who, how, in what, where, when and why they danced it. What is she? These and many other questions are called upon to solve the Dance Museum "Lezginka", which is being created these days. It will not be just another official "center of culture". Its creators see it as a creative, scientific and educational center, absorbing the most diverse forms of activity. The main task of the museum is the preservation, development and promotion of the best traditions dance culture"Lezginki". For today the main task museum workers - collecting activity. By the forces of specialists and professionals, enthusiasts and simply ordinary people who is heartbroken for his history, a patriot and a generous soul - our museum will be formed. The collected material will become the basis of not only museum expositions, but most importantly, a huge source and historical base will be revealed that was not previously involved in science, which will entail new research, discoveries, theoretical and practical discourses in Dagestan cultural studies.
And here it is impossible not to say about the main driving force of such an innovative and grandiose project - big family Omarovs and the main inspirer Omarov Omar Murtuzalievich. Today, on account of the "Lezginka Omarovs" for a relatively short term- three - 2000, 2001, 2002 - Competitions for the best performance of the folklore lezginka named after. Patimat Omarova, the creation of the Union of Choreographers of Dagestan. The whole world is included in the orbit of the Dagestan lezginka - the international festival of folklore lezginka, which will be held in Turkey, is on the way, a museum is opening. But the main thing is that thanks to the efforts of these enthusiasts, contestants and professionals, people remembered that "lezginka" is not only an element of a wedding or family celebration, lezginka is a thin, complex art requiring high dedication and devotion.
6. Gottfried Gasanov - Father of Lezgino-Dagestan music.
On June 22, 1923, a concert was held in Makhachkala, dedicated to creativity F. Chopin. The performer was G.A. Gasanov, "whose performance became an outstanding phenomenon in musical life capital of Dagestan", The newspaper "Red Dagestan" responded to the concert with a detailed review, which stated that "the young musician is one of the first representatives of the new, Soviet national artistic intelligentsia". "Speaking about the program of the concert, we cannot but say a few words about the concertante himself, - the reviewer writes. - Pianist G. Gasanov is such a musical value that deserves all attention and that Dagestan can be proud of as its only musical brainchild
G. Gasanov's contribution to the development of musical culture Avars, Kumyks, Laks and other peoples of Dagestan. The first musical and artistic expedition to collect folk music, headed by G. Gasanov, set off from Buynak-ska along the route Arakany - Kudutl - Gergebil - Mogokh - Khunzakh - Chokh - So-gratl and collected interesting material: 120 poetic texts and 100 folk melodies recorded on phonographic rollers. “The trip with the phonograph was in itself the nature of a continuous triumph,” Gasanov wrote in his expedition report. Soviet power interested in the creativity of the peasantry".
"The result of the expedition was also the study of G. Gasanov "Songs of the Avars", completed in 1927." . Presenting a report on the trip in form, it, in essence, summed up the acquaintance with the music of the Avars in 1921-1927. and let down scientific foundations studies of the musical culture of the Avariens, "The content of the work is marked by great breadth, courage and saturation of generalizations. The first part provides a detailed description of the most common Avar musical instruments: kumuz (tamura), chIagyans, lalu, zurns, their devices, settings, performance techniques, their manufacturing technology, folk musical terminology, etc. The second section of the work of G. Gasanov reveals musical structure Avar song, general classification of the Avar song folklore" .
G. Gasanov's publication was highly appreciated: read out as a report at a meeting of the ethnographic section State Institute Music science in Moscow in August 1927, she brought the recognition of the scientific community to the author. He was awarded the degree of Corresponding Member of the HYMN. In the "Songs of the Avars" G. Gasanov laid the foundations of the methodology scientific research folk art and significantly enriched the Avar musical folklore by introducing elements of Lezgin-Dagestan melodies into it. "The ideas of this study are interesting even today".
In the same year, the collection "Motives of the Dagestan dance: 12 lezginkas performed by zurns" was published, compiled by G. Gasanov, M. Jamalov. This is the first edition of Lezgin-Dagestan melodies, as well as the first and so far the only collection of folk dance music. instrumental music. "We believe that the published twelve dance motifs are an undeniable musical wealth that requires fixation in order to avoid disappearance, especially since some of them are no longer played at all," the compilers wrote in the preface to the collection.
They managed to select artistically perfect and diverse samples of national dances, lezginka tunes. This collection determined the most important principles and forms of collecting, ioting and publishing East Caucasian folk music, which became guidelines for the development of folklore; selection of the most attractive samples, "generalizing" techniques music notation, conditional recording of a variable metro-rhythmic structure, the absence of accompanying, "accompanying" instruments (in this case, percussion), etc. ".
As noted above, under the leadership of G. Gasanov, a musical technical school was opened in 1926.
"G. Gasanov attached great importance to the development of a methodology for working with mountaineers in musical and theoretical subjects, as well as the creation of special didactic material and an artistic and pedagogical repertoire based on folklore. The idea he put forward of "study musical theory based on the study of native motives was an innovative phenomenon in music pedagogy those years". Already in 1927, the music college published a collection of piano pieces by E. Yudina "To Dagestan Children". In the preface to the collection, G. Gasanov wrote: "It is also easy to understand why we chose folk songs as material for pedagogical work: firstly, these motifs are already familiar to our highlander students and are quite consistent with the cultural world of the environment that created these children; consequently, it is much better to build their acquaintance with the methods of harmonization (from the point of view of the development of taste) on familiar and close material than on a motive invented, and sometimes even nationally alien; secondly, with the release of this collection, the Dagestan motif is advanced from the thick of the people to the stage, at least for students, which, of course, has a considerable cultural significance towards the development and enrichment of local music".
G. Gasanov managed to attract not only the most experienced local teachers, but also graduates of music universities in Moscow and Leningrad to work at the technical school. Piano classes were led by D. Dalgat, E. Yudina, O. Ti-musheva, violins - I. Safanov, V. Klin, solo singing - M. Andreeva - Petrovskaya, V. Zaitseva, wind instruments - A. Kleizmer. Availability is quite a large number specialists - musicians of high qualification provided high level teaching and made it possible to develop an interesting concert educational activity. In the concert programs of the Dagmuztekhnikum, there were many works of musical classics - compositions by J.S. Bach, L. Beethoven, F. Schubert. N. Medtner, M. Ravel, piano concertos R. Schumann, P. Tchaikovsky, S. Rachmaninov. Works on Dagestan themes by G. Gasanov, D. Dalgat, E. Yudina and I. Safanov were also performed here.
G. Gasanov trained such outstanding musicians as S. Agababov, M. Kazhlaev, Sh. Chalaev and others.
G. Gasanov wrote the children's ballet "Karachach", the opera "Khochbar", songs for the plays "Aigazi", "Love Asiyat", etc., which are firmly established in the repertoire of the Kumyk theater. His Piano Concerto is often and is currently performed by orchestras in Russia and other foreign countries. The work of G. Hasanov was highly appreciated by the government of the USSR. He was twice awarded the title of laureate State Prize, has the honorary titles of Honored Art Worker of the RSFSR and DASSR.
Unfortunately, G. Gasanov is now consigned to oblivion, his musical heritage is barbarously used by representatives of other peoples, without even referring to his published works...
7. Zeynal Hajiyev
“I was lucky to work with Zeynal Gadzhiev,” says I. Mataev. “Z. Gadzhiev was a composer whose bright talent made a great contribution to the development of the musical culture of Dagestan. Lezginskaya lullaby", hundreds of musical works written by him for the ensemble "Lezginka", won great love of the Dagestan peoples. Each of his musical works is imbued with love for his people, expresses the thoughts and aspirations of a simple person "...
“Zeynal Mikailovich,” Joseph Mataev says further, “tried to reflect the most intimate in his works, and therefore each of his works was perceived as an event in musical culture. He was a democratic composer, whether it was a song or an aratoria, or a musical scene - melodicism prevailed in his works From young to old, his songs were sung. We can say that he is the founder of the modern choreographic musical culture of Dagestan "...
In 1957, 3. Gidzhiev moved to Makhachkala, first worked in the ensemble "Songs and Dances of Dagestan", and with the creation of the Choreographic Ensemble "Lezginka" - in the latter. In "Lezginka" 3. Hajiyev worked until his last days (he died in 1971).
In 1959, two years after moving to Makhachkala, 3. Gadzhiev published a book of Lezgin folk song and dance melodies. Unfortunately, I couldn't find it. As N. Ibragimov writes in "Lezgi newspapers" (04.09.93.), The book collected such folk masterpieces as: "Shagsenem", "Suna-chan", "Alaguzli", "Zagadur-zag'a", "Magyidilber chan "," Ai, Dilber ", Vatsran eqver", "Zhanisat," Kolkhozchi rushaz "," Kyasum-khuyr "," StIalar "Usugchay", "Tala", "Abas", "Telephone", "Khiner", " Yahlar", "Rips kul", "Kuba kenfetar", etc.
In the early years of the creation of "Lezginka", the dances of the Lezgi-speaking peoples occupied a significant place in it, and the musical arrangement was based mainly on Lezgin dance melodies.
According to the People's Artist of Russia, laureate of the State Prize of Russia and Dagestan, artistic director of "Lezginka" Iosif Mataev, 90% of the music when staging all the dances of "Lezginka", whether it is a Tat or Avar dance or a dance of another Dagestan people, was written by Zeynal, an honored worker of arts of Dagestan Gadzhiev.
The basis of "Lezginka" was and remains such dances as "Zegmetchiyar" ("Workers"), "Suvan tIavatar" ("Mountain melodies"), "Mekhyer" ("Wedding"), "Atluyrin chamarar" ("Atluy equestrian competitions" ), "Pud payunikay ibarat Egyptrin kyull" ("Egyptian dance"), "Kaytagyi" ("Kaytaki"), "Untsukulviyar" ("Untsukultsy"), "Partizanar" (Partisans"), "Gichinar gvayburun kyul" ("Dance with jugs"), "Ky1vepayunikay ibarat as-kerin kul" ("Dance of warriors"), Rutulrin "Maskha" ("Rutul Maskha"), "Dargo" ("Dargins"), "Suvan khure - suvar" (Country wedding" ), Noghairin "Ailoniy" (Nogai dance "Ailoniy"), rusharin kul "Gatfar" (girl's lyrical dance "Spring"), etc.
And today the basis of almost all Lezginka melodies is dance music 3. Gadzhiev, but this is not mentioned anywhere. Before me is the last prospectus of "Lezginki", published in Russian and English, but in it you will not find a word about its musical founder - Zeynal Hajiyev!
3. Hajiyev wrote music for more than ten performances of the Lezgin theater operating in the city of Derbent, including "Fundugbeg", "Sayad", "Cham gvaz katna", "Yetim Emin", "Kianivalikay rivayat", etc.
35 years have passed since the publication of "Lezgi songs and dance melodies", during this time not a single work of 3. Hajiyev was published anymore!
8.Uruj Abubakarov
Iosif Mataev recalls with warmth and admiration another outstanding Lezgi musician, Urudzha Abubakarov, Honored Artist of the RSFSR and People's Artist of Dagestan, who led the performances of musical works. Talking about Uruja Abubakarov, I. Mataev recalls such a fact. At one of the competitive concerts in Moscow artistic director of the National Orchestra of Armenia withdrew his number, because he considered that after the performance of the team led by Urudzh Abubakarov, it was inconvenient to perform. The performance skills of Uruj Abubakarov were so high! The latter played superbly on almost all national instruments Dagestan...
Description
Lezginka - is an old folk fast Caucasian dance and accompanying music. Foreigners in ancient times called the peoples of Dagestan Lezgins, from which the name came - Lezginka.
Lek - "Lezgin, eagle", neighboring peoples interpreted the word "lek" as a name individual people, the Leks themselves invested the concept of "eagle-man".
It is difficult to meet a person who has not heard about this incendiary dance, the trade routes that passed through the Caucasus united Europe and the eastern countries. Travelers passing through Dagestan could not but pay attention to the dance, which had not been seen anywhere before.
Lezginka - is a kind of competition that young people arrange among themselves. Execution requires dexterity and great strength from young men, and grace and smoothness from girls. She is very fast and temperamental. This famous dance- an echo of pagan rituals, the main element of which was the image of an eagle. The image is perfectly conveyed by the performers, especially at the moment when they stand on their toes and spread their arms-wings, they begin to describe smooth circles, like an eagle about to take off.
Description of movements and image
Very graceful, with sharp and clear movements, as well as lunges, the dance serves as a demonstration of the courage and spirit of the performer. Its spectacle reaches its peak when the performance takes place in national costumes and is accompanied by a musical ensemble. Size 6/8, tempo is fast, melody is dynamic and clear.
There are two images in lezginka: a man is an eagle and a woman is a swan. A man alternates between fast and fast pace, the most difficult movement is to stand on his toes with his arms outstretched. The woman dances, holding a strong posture, and smoothly moves her arms. The tempo of the performer's movements grows in accordance with the tempo of the performer.
The drawing and the image are unchanged and unified, but each ethnic group of the Caucasus has its own stylistic variety of movements that are used in the dance.
Presence in the works of the classics
Lezginka with its music, which has a clear rhythm and energetic movements, attracted the attention of many, known to the world, composers. In "Ruslan and Lyudmila" - Glinka, in "The Demon" - Rubinstein added a spontaneous, stormy and passionate lezginka.
dance and musical composition remains popular in our time, modern performers often use it.
See the competitions between the performers on the video and photos that are present on the site.
