Adygea dances. Adyghe (Circassian dances)

Maykop, April 17 - AiF-Adygea. Each nation has traditional dances, and, despite the new modern styles, every significant celebration of any nation is accompanied by a folk dance. And, perhaps, this is not only a tribute to traditions. After all, nothing reflects the character of a person as much as his movements.

ancient art

Among the Circassians, choreographic art originated in ancient times. The most ancient dance of the Circassians is called "Achekash", which means "dancing goat". The dance appeared in the early pagan period and was associated with a cult ceremony in honor of the god of fertility and agriculture Thagalej.

One of the very first dances of the Circassians, which has survived to this day, is "udzhi". It resembles a round dance. "Uji" dance, holding hands, and move in a circle in a certain rhythm. Each celebration usually ended with this dance, and, perhaps, through it, the unity of the assembled guests was emphasized. One of the researchers Sh.S. Shu in his book "Folk Dances of the Circassians" noted that the Circassians considered themselves children of the sun and attached magical significance to the circle. Therefore, in the choreographic drawings of many dances, echoes of the cult of the sun are reflected, for example, in the fact that the direction of the dance movement goes in a circle towards the sun. By the way, “uji” was the only dance in which a young man could touch a girl by taking her hand.

In ancient times, there was a ritual "chapsch". It was carried out during the treatment of the wounded and consisted in the fact that young people gathered at the bedside of the patient. They acted out games, sang songs and arranged dances in order to distract the wounded from his pain. It was believed that such a ritual contributed to the recovery of a person.

Types of dances

There are several traditional dances of the Circassians with a certain plastic pattern and individual rules - Tlepechas, Uji, Zafak, Zygetlat, Islamei, Kabardian Islamei and Kabardian kafa.

An expressive dance can show one's feelings and attitude towards a person (Adyghe etiquette - "Adyghe Khabze"). This can be seen most clearly in the pair dances of the Circassians. The movements expressed both the character of the Adyghe man and the Adyghe woman, and the nature of their relationship. So, the main masculine qualities were nobility and restraint, and women's - sophistication and grace. Acquaintance and communication passed through the dance, therefore, we can say that each dance had a specific task. For example, dancing "zafak", an acquaintance took place. In it, the guy and the girl either approach each other, then move away. The very name "zafak" is translated as "to meet".

The Islami dance is one of the most beautiful and romantic dances. In it, the couple shows more trust in each other and moves smoothly in a circle. Everyone who has seen this dance will agree that it is so weightless that it seems that there is no gravity. The feeling is similar to the feeling of love, which reflects the dance.

"Dance battle"

Modern professional plastic art of the Circassians is based on these basic dances. Today in the republic the ancient Adyghe dance tradition is preserved by the State Academic Folk Dance Ensemble of Adygea "Nalmes". He protects and promotes folk dances, and also creates new compositions, images and performances. "Nalmes" traveled on tour almost all the continents of the world. Visited USA, France, Japan, Italy, Czech Republic, Turkey, Syria, Israel, India, UAE and Libya. And in each of the countries, the public warmly welcomed the Adyghe art.

Today, no solemn event is complete without traditional dances. The youth of the republic is very fond of arranging a "jag". This is a game, which has its own leader, and the behavior of guests is regulated by certain rules, “jagu” is performed at almost all festive events. Everyone can go out to dance or invite the girl they like to dance. This is a kind of communication between young people in traditional forms. This dance can also be considered as a "dance battle", in which the best performers are determined.

Aristotle already spoke about the special impact of dancers on the audience. In "Poetics" he noted that through rhythmic movements, dancers depict both characters, and state of mind and actions.

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The article presents an ethnographic analysis of the Circassian (Adyghe) dance competitions. It is noted that along with individual and pair dances, dances-competitions were distinguished, which the authors of the 19th century. called Lezginka or Islam. The harsh conditions of existence left their mark on the dance and musical culture of the Circassians closely intertwined with it, their songs and dances excluded open emotional manifestations, were strict and restrained. When performing lezginka, strictness and restraint were also manifested. Competition dances were very popular and performed a number of functions: they were a means of physical hardening, they brought up endurance, they were a means of self-expression, they taught young people to show will and character. It is concluded that the dance and musical culture of the Circassians (Circassians), who were one of the most numerous and dominant ethnic groups in the region, had a significant impact on similar areas of the humanitarian culture of neighboring peoples, in particular the Cossacks.

Circassians (Circassians)

dance culture

dance competition

ethnocultural interaction

imitation

lezginka

Nart epic

Cossack dance

1. Adygs, Balkars and Karachais in the news of European authors of the XIII-XIX centuries. / Compilation, editing of translations, introduction and introductory articles to the texts of V.K. Gardanov. - Nalchik: Elbrus, 1974. - 636 p.

2. Bucher K. Work and rhythm: the role of music in synchronizing the efforts of participants in the labor process. - M. : Stereotype, 2014. - 344 p.

3. Dubrovin N. Circassians (Circassians). Materials for the history of the Circassian people. Issue. 1. - Nalchik: Elbrus, 1992. - 416 p.

4. Kesheva Z.M. Dance and musical culture of the Kabardians in the second half of the twentieth century. - Nalchik: Publishing House of M. and V. Kotlyarovs (Polygraphservice and T), 2005. - 168 p.

6. Narts: Adyghe heroic epic. - M. : Main edition of scientific literature, 1974. - 368 p.

7. Tuganov M.S. literary heritage. - Ordzhonikidze: Ir, 1977. - 267 p.

8. Khavpachev Kh.Kh. Professional music of Kabardino-Balkaria. - Nalchik: Elbrus, 1999. - 224 p.

9. Khan-Girey S. Circassian legends. Selected works. - Nalchik: Elbrus, 1989. - 288 p.

10. Shu Sh.S. Folk dances of the Circassians. - Nalchik: Elbrus, 1992. - 140 p.

The culture of the Circassians (Circassians) was formed, like other national cultures, in accordance with the geographical conditions of this people. The territory of the Circassians (Circassians) has always been a strategically significant object, so their history is actually an uninterrupted series of wars against the invaders. Life in conditions of permanent war led to the formation of special principles of education. The harsh conditions of existence left their mark on the dance and musical culture of the Circassians closely intertwined with it, their songs and dances excluded open emotional manifestations, were strict and restrained.

Competition dances occupied a significant place in the dance culture of the Circassians (Adyghes), so in this article we will try to consider their influence on the development of dance culture in general, as well as how they reflected the realities of the ethno-cultural life of the Circassian (Adyghe) society.

The German economist K. Bücher noted that being at the center of social life, the dance could not but fix in a certain way the material and spiritual achievements of one or another formation. Consequently, each era adapted the choreography according to its needs, its level of spiritual development. Dance and musical art selected and consolidated life situations, relationships between society and the outside world. But choreographic and musical art could not but be influenced from outside.

Over time, under the influence of various external and internal factors, the content and forms of many magical song dances, dances born during the performance of various works, have changed and lost their functional significance, turned into traditional folk dances. Along with individual and pair dances, competition dances began to stand out. These dances are the authors of the 19th century. called lezginka. Adyghe educator of the XIX century. Khan-Girey described the lezginka as follows: “There was always a daredevil who jumped into the center of the circle, followed by the second, third - this is how the dance-competitions began. After a kind of performance - a ritual that marked the beginning of a dance competition, a dance began, in which the dancer demonstrated his dexterity and grace. Such dances contributed to the development of dance technique. As for another kind of dance, it consists in the fact that one, speaking in the middle of the audience, dances, making very quickly various difficult movements with his feet. He goes up to one of those present, touches his clothes with his hand, and then he replaces him, and so on. Girls also take part in this dance, but both they and men do not make indecent gestures, which happens among other Asian peoples. However, such a dance is not in respect.

It should be noted that in the XIX century. "Asians" called all the North Caucasian peoples. According to the concepts of the Circassians (Adyghes), "obscene movements" included abrupt changes in the position of the upper body, deep bends to the sides, throwing out hands with spread fingers, baring teeth, etc. Such body movements contradicted the strictness and restraint characteristic of the Circassian (Adyghe) choreography. With virtuoso movements of the legs in lezginka, the upper part of the body is usually kept straight and strict, without sudden movements, the hands with half-bent fingers are always in a strictly defined position. The well-known Adyghe organologist and ethnologist Sh. Shu notes: “It is possible that these traditions were developed back in those distant times, when the sledges danced, holding an ane - a round table with dishes on their heads, developing a stable balance of the body and its smooth movement” .

In the Adyghe epos "Narts" one can find many examples of dance skills demonstrated by the heroes, and this skill was valued no less than their military prowess, as it was evidence of their excellent physical condition and endurance. This is most eloquently stated in the passage “How Sosruko first appeared on Hasse of the Narts”:

"He forgot his worries,

The merry dance began,

He swirled around,

Dishes and bowls did not touch!

The table is too wide

The dancer seemed -

Twisted around the edges

Bowls with spicy seasoning.

He dances majestic

Dance of battle and glory

Don't shake the seasoning

Without spilling even a drop

But from a violent dance

Hasa walks like a walker!” .

In the excerpt "Tlepsh and Khudim" the skillful performance of the dance by the blacksmith Khudim is also noted. This testifies to his excellent physical condition, the ability not only to masterfully dance, but also to withstand all the hardships of a military campaign. There is a direct relationship between dance skills and the performer's military training, because in both cases the decisive role is played by his physical form, stamina, and tirelessness.

Returning to the cheerful circle,

In a violent dance started off on the move.

All faster, all skillful

Dancing with a forge on his shoulder.

The skies covered the dust

The earth walked like a walker,

People were falling down

And Khudim dances more and more

And, having shaken off the forge from his shoulder,

Then he will throw it behind the cloud,

That will pick up on the fly.

And the oxen from the fierce dance,

Can't stand the shock

On the corners pushing in the forge,

Eight colliding to death,

They died with a hoarse roar.

A wide circle of dancing places,

As if the current is trampled down exactly:

So Hudim indomitable

Seven nights and days at the Narts

Restlessly, alone

Having fun around the circle.

Lezginka was mentioned by N. Dubrovin, J. Bell, J.A. Longworth and others. Dubrovin called this dance "kafenyr" - a kind of lezginka, in which one man performs the solo part. “A young sixteen-year-old boy usually came out to the middle of the platform, the sounds of a lezginka were heard, and the young dancer opened the beginning of the folk dance. The dancer either stood on the sharp toes of his chevyak, then completely twisted his legs, then described a quick circle, bending to one side and making a gesture with his hand, similar to how a rider at full gallop picks up some thing from the ground.

Competition dances performed a number of functions: they were a means of physical hardening, they brought up endurance, they were a means of self-expression, they taught young people to show will and character, etc. I.F. Blaramberg, lieutenant general of the Russian service, in 1830 was assigned to the General Staff and appointed an officer to the headquarters of the Separate Caucasian Corps, which gave him the opportunity to thoroughly familiarize himself with the peoples of the Caucasus. He visited the North Caucasus several times (1830, 1835, 1837, 1840) and noted that the dance-competition was extremely popular among the Adyghes (Circassians) and made an indelible impression on the travelers who watched it: “... pas consist of small jumps, but it must be said that the position of the legs, almost always turned inward, makes them very difficult ... Two dancers stand facing each other with their arms stretched back and perform jumps and various movements with their legs with amazing dexterity and ease.

The pinnacle of the performing arts was considered to be the "Dance on the toes" (or dance on the fingers). "Dance on the fingers" is known among a number of peoples of the Caucasus. Lezgins use this technological technique in Khkerdaymakam (Lezginka), Chechens and Ingush - in Nukhchi, Kalchay, Georgians - in Tserumi, Ossetians - in Rog-kafta, Zilga-kafta. “Dance-competition on socks between guys and girls existed until the 1900s. The dance began with "Zilga-kafta". Having finished it, the girl slightly lifted her dress and began the "Dance on socks." The guy did the same, but like a man, more energetically ... This dance, which required special restraint from the performers and the ability to stay on their toes to the end, lasted about 30 minutes.

The Kabardians used the "dance on the fingers" most often in "Islamei", an analogue of the lezginka. Islamey differed from other Circassian dances in the tempo and character of performance, internal energy, and advanced technique. There are several versions about the origin of the name of the dance. According to Sh.S. Shu, it is derived from the Adyghe language and consists of the words "is" - "Stick", "le" (tle) - leg, in this case "toes" and "miy" or "mis" - "here" or "here ”, but in general it translates: “stick your toes here” or “dance on your toes”. This name is quite consistent with the manner of the dance.

The heyday of Islamey falls in the middle of the 19th century, since it was during this period that the famous Eastern fantasy "Islamey" was created - the pinnacle of M.A. Balakirev. Russian composer, organizer of the "Mighty Handful" M.A. Balakirev (1836-1910), visited the Caucasus several times. The composer loved to listen to mountain musicians, repeatedly visited Kabardian and Circassian (Adyghe) villages, got acquainted with the songs and melodies of the highlanders. One of the melodies that accompanied the sparkling dance inspired the composer to write the Eastern Fantasy "Islamey" (1869) for piano. After its publication in 1870, the work quickly spread throughout the world. The famous Hungarian composer F. Liszt often played it at his concerts. For many decades, not a single major piano competition has been held in the world, the mandatory program of which would not include “Islamey” by M.A. Balakirev.

Lezginka (Islamey), being a pan-Caucasian dance, reflected the freedom-loving spirit of the Caucasian peoples. The Cossacks, and not only the Terek ones, adopted from the Caucasian peoples, in particular the Circassians, costume and dance movements. The famous French geologist, naturalist and archaeologist Frederic Dubois traveled in 1833 to the Crimea and along the Black Sea coast of the Caucasus. He got acquainted in detail with the life of the Circassians (Circassians) and Abkhazians and noted: "... the dancers adopt all kinds of pas and entresha from each other, like the Cossacks, who, it is possible, borrowed their favorite dances from the Circassians" .

Among the Terek Cossacks, the term “dance Shamil” has been preserved for a long time, which means to dance the lezginka. Currently, in some Cossack villages at weddings and celebrations, you can hear: “Now come on Shamil!”. The Cossacks borrowed recognizable movements, that is, the form, but compared to the Circassians, in their lezginka, the movements are freer, wider, the pace is slower. This was dictated by a different psychophysics of the people. Shoes were an important style-forming moment. Circassians (Circassians) danced in leggings - hence the active work of the ankle was noted. All steps were made either on the fingers or on the toes, which gave lightness and agility to the technical performance. Many movements were based precisely on demonstrating the art of finger dancing. The Cossacks danced in boots, hence the different technique.

The choreographer of the Kabardino-Balkarian Musical Theater Y. Kuznetsov notes: “The interpretation of militant movements is clearly observed in Circassian Islam. For example, " bookmark " - avoiding a blow with a saber or a saber, hand movements, copying the movements of melee weapons. Vaulting, the movements of a whip, whips, and, of course, movements imitating the movements of a horse and the flight of an eagle are imitated. Historically, this is mostly a male dance. In the Cossack lezginka, due to the long historical and cultural interaction of peoples, militant movements adopted from Caucasian Islam were reflected.

Thus, the technical complexity of the competition dances required significant abilities and skills from the performer, and these skills were acquired on the basis of stable traditions developed over the centuries. Competition dances existed among the Circassians (Circassians) for a long time, and the performing arts of the people achieved a high result. The Circassians (Circassians) were one of the largest and predominant ethnic groups in the region, so their dance culture, and in particular dance competitions, had a significant impact on similar areas of the humanitarian culture of neighboring peoples.

Reviewers:

Dzamikhov K.F., Doctor of Historical Sciences, Professor, Acting Director of the Federal State Budgetary Scientific Institution "Institute for Humanitarian Research of the Kabardino-Balkarian Scientific Center of the Russian Academy of Sciences", Nalchik;

Apazheva E.Kh., Doctor of Historical Sciences, Professor of the Department of World History, FSBEI HPE “Kabardino-Balkarian State University named after I.I. HM. Berbekov, Nalchik.

Bibliographic link

Kesheva Z.M., Varivoda N.V. Circassian (Adyghe) DANCE COMPETITIONS: ETHNOGRAPHIC REVIEW // Modern problems of science and education. - 2015. - No. 2-2.;
URL: http://science-education.ru/ru/article/view?id=22443 (date of access: 02/01/2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"

Dance is one of the oldest art forms. The Adyghe people have been creating their own original choreography for thousands of years. Dances, music in general, have played and are playing an important role in the life of the Adygs. Circassian children began to dance from an early age ... the first step is the first dance, the kids took their first steps to the music.
Adygs believe that dances express the soul of the people. No wedding or celebration is complete without them.
The emergence and development of Adyghe dances have an interesting and deep history. They are based on religious and cult dances.
Adyghe dances are also part of the peoples of the Caucasus, which have remained practically untouched and have come down to our days in their unchanged form...

"Islamei" is a smooth pair dance with lyrical content. There is a version of the origin of Islam. One fine day, a young shepherd named Islam drew attention to an eagle and an eagle circling in the azure sky, which soared in a circle, as if admiring each other from afar, and then flew together, wanting to express something secret. Their flight reminded the young man of the hidden feelings in his heart and excited him. He remembered his beloved, and he also wanted to admire her, to tell her everything that he had accumulated during the separation, but he did not succeed soon, and it was not so easy for the Circassians to meet their chosen one. However, at one of the wedding celebrations, he was lucky: he was invited to dance with his beloved girlfriend. Here, imitating the manner of eagles, he applied a new dance pattern - movement in a circle. The girl understood his intention, and the young people in their dance managed to express all their feelings to each other. Since then, this dance was born, which was called "Islamei" - "belonging to Islam."

"Udzh" is an ancient Adyghe festive dance, usually performed by young people in pairs. The plasticity and movements of this dance are natural and simple in terms of technology, which makes it possible for performers to build intricate drawings. "Uj" is ubiquitous and has numerous variants.
There are two types of udj:
1. Ancient ritual and cult circular round dance ujkhurai (khurei). passed through the millennium and has survived to this day.
2. Modern mass paired oudzhi with varieties: t1urt1u udzh, udzhkhesht and udzhpyhu. Ujhurai - one of the culmination moments of thel'e1u - is not just a movement, but a rhythmically organized tactile rapprochement of groups of people of opposite sexes, who develop a common feeling, unity of will and action for all participants during the dance. In the Ujkhurai dance, the Circassians entered into direct communication with Tkhe. Ujhurai - an appeal to God. the dance was accompanied by the cries of the dancers, which included an appeal to God. Ujhurai is danced only by unmarried and unmarried people. During the dance, they get acquainted, make dates. T1uryt1u udzh - "pairwise", sometimes called "goshcheudzh", and this is due to the fact that this dance at one time began by order of the mistress of the house (guashe) or in honor of the princess (also guashe), who could lead the dancing couples.

"Kafe" - dance of the princes of Circassia. In the old days, it was danced by people of noble origin, which gave it such a title. Smooth, unhurried dance, with a strict and clear design. The ancient dance "Kafe" is the soul of the Adyghe people, their character, face, their pride. It shows the beauty, grandeur and inner dignity of a person, composes a hymn to courage and nobility.

"Hurome" (ritual dance)
The rite of Huurome consisted of three parts.
The first is a ritual tour of the courtyards of the village with the wishes of well-being, health, success in life to family members. The bypassers sang songs and carried baskets, bags in which they put the collected products, various sweets.
The second part of the rite is the preparation of food from the collected products and the collective meal of its participants.
After its completion (the final, third part), the youth had fun, sang, danced, played various games.
Having lost its ritual functions, this rite passed into the children's sphere. As a game, khurome existed in Circassian villages back in the 40s of the 20th century, but then it completely died out.

"Zyg'elat" is a pair lyrical dance performed at a fast pace, but with lyrical content. It is usually performed to the tunes of old folk songs.

"Adyghe l'epech1as"
(l'epech1es - "dance on your toes"), keberdey islamey (Kabardian Islamei) - fast, highly technical dances, distinguished by a special manner of performance using the movement technique on toes. Abrupt changes in the body, deep tilts to the sides, throwing out hands with spread fingers, and so on - contradicted the Adyghe concepts of pride and severity. With virtuoso movements of the legs, the upper part of the body is usually kept straight and strictly without abrupt changes, the hands with half-bent fingers are always in strictly defined positions. It is quite possible that these traditions were developed back in those distant times, when the sledges danced, held on their heads 1ene - a round table with dishes, developing a stable balance of the body and its smooth movement.

"Zefak1u kafe" - paired, lyrical dances performed in a smooth and graceful manner at a moderate pace. varieties of the Adyghe zefak1ue are: zyg'egus - "resentment", "offended"; kesh'ol'ashch - "dance of the lame", "khak1uak1", etc.

There are also many varieties of Adyghe dances ("Kulkuzhyn kafe"
"Dzhylakhsteney zek1ue" (male dance),
"Khurashe", "Kafe k1ykh", "Ubykh kafe", etc.).
"Such a magnificent heritage of the Adyghe people speaks of how rich and interesting the culture of the Adyghes (Circassians) is."

The formation of the folk dance culture of the Circassians over the centuries was not easy and in constant search. Historical and social sources of the emergence of their own folk choreography in Adygea were folk traditions, psychology and creative thinking of the people.

Self-expression in dance acquired over time special forms, techniques and character, and became part of the rich cultural heritage of the republic. It is believed that the swiftness of the dancers and the speed of folk dances completely passed from the Adyghe warriors who participated in numerous Caucasian wars.

The syncope rhythm is a consequence of the horse's running translated into dance movements and its perception by warrior riders. There are in these dances the best qualities of the Circassians - pride, modesty, heroism and fortitude. Dance for the Adyghe is like a manifestation of the foundations of life, a kind of model of his life.

Dancing has always been a favorite entertainment in Adygea: at holidays, weddings, any solemn and joyful occasions, music, singing, clapping and, of course, the dance itself with jumps and unusual sharp movements were sure to sound.
Since ancient times, the Circassians have preserved their original dance tunes and theatrical pantomimes with dance numbers (dzheguako, azhefafy).

Improvisation and acting finds are the distinctive side of such performances. Adyghe dances are always emotional due to the dancer's noticeable readiness for action, his openness, but at the same time - inner peace and attentiveness.

At the heart of many Adyghe dances there are mythological concepts: "Dyge" or the sun is a kind of national dance code. Thus, the shape of the sun contributed to the emergence of circular dances. But the biggest source of the content of the Adyghe dances is the Nart epic: “Once the brave Narts gathered on the black mountain and started a dance, competing in dancing with the Narts. Shabotnuko jumped on a three-legged round table and started dancing, without spilling even a drop of seasoning and without violating order ... ".

The most characteristic features of the Adyghe national dances

The first feature: the head, shoulders, torso, arms and legs of the dancer are synchronized in movements and take those positions that correspond to the specific elements of a particular dance. So there is a deep disclosure of the content of the dance.

Second: the dancer's head is usually directed towards the partner. Girls in the dance tilt their heads to one of the shoulders and, if necessary, turn it in one direction or another, modestly lower your eyes. Young men always keep their head proudly raised, it turns in the required direction more sharply and impetuously.

Facial expression. Usually these are restrained smiles and a calm face in general in girls and more expressive in boys.

Dancing shoulders. They turn synchronously with the body, emphasizing rigor, restraint and pride. During turns, the corresponding shoulder is the first to slowly start moving in the right direction. The girls lower their shoulders a little, and the boys keep them straight, and slightly turned around.

The positions and movements of the arms and legs of the dancers are varied and complex. In them, a number of characteristic hand positions are more common, and especially in the dance movements of girls. But it is extremely difficult to describe such movements in words. Therefore, we will leave the specific topic to professional choreographers and visitors to the Adyghe folk dance studios.

There are many dances in Adygea that require skill and perfection. Such of them as lezginka, hasht, lo-couage, kafa, udzh are complex, stately and beautiful at the same time. But for any Adyghe, dance is a demonstration of fortitude, when the impossible becomes possible. And this is art. A kind of gratitude for the favors received from the ancient gods, this is a reflection of life in all its many-sided beauty, this is the way to the knowledge of the vast and meaningful world of human feelings. Deprived of its emotional content, dance ceases to be art.

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