Dance art of the Circassians. Adyghe folk dances. The most characteristic features of Adyghe national dances

The Circassians have two varieties of Islam dance, which can be conditionally defined as Western and Eastern. They have the same name, but belong to different genre groups, are distributed in different territories and are associated with different legends. Western Islamey is danced in the Republic of Adygea, Karachay-Cherkessia and in the Black Sea Shapsugia. This couples dance, which could be classified as a genre of zafak, if not for two specific characteristics: zafak can be performed to many melodies, and islamey - only to one single melody, which bears the same name as the dance; The dance pattern in Islameya differs from zafak - a guy and a girl imitate an eagle and an eagle at the moment of amorous courtship.

Adyghe islamy - Adyghe islamey - an original and popular smooth pair dance with lyrical content, performed at a moderate-fast tempo.

The dance is quite rarely performed in the ritual space of weddings, but it is widely performed on the stage of amateur performances, in school and student folklore groups, and at student parties. It turns out that it is important for performers to dance Islamey in national costumes, since dance is directly related to their characteristics. For example, it is very difficult to dance on your toes in European shoes, as well as to depict wings only with your hands (in comparison with the winged hands of the national costume).

There is an ancient legend about the origin of the dance. One fine day, a young shepherd named Islam noticed an eagle and an eagle, who were soaring in a circle in the azure sky, as if admiring each other from afar, and then flew together, as if wanting to express something secret. Their flight excited the young man and stirred up hidden feelings in his heart. He remembered his beloved, and he also wanted to admire her, to express to her everything that had accumulated in his soul during the separation. But Islam did not succeed in this soon, and it was not so easy for the Circassians to meet and talk with their chosen one. However, on one of wedding celebrations he was lucky: he was invited to dance with his beloved girl. Here, imitating the style of eagles, he used a new dance pattern - movement in a circle. The girl understood his plan, and the young people were able to convey all their feelings to each other in the dance. This is how the dance “Islamey” was born...

In all likelihood, Islamey arose among the Adyghe people after the zafak, since some of the same dance elements are used in both dances. Considering that Islameya uses more complex choreographic techniques, it should be considered a later one.

The dance is accompanied by a special tune, which throughout the 20th century was performed on the Adyghe harmonica - pszczyne. The earliest recording of the tune “Islamey” belongs to the legendary Adyghe harmonica player M. Khagauj. It was made in 1911 in Armavir by English engineers, representatives of the Gramophon company. M. Khagauj played the melody “Islameya” practically without decoration, “adjusted” a chord (triad) to the long sound (longa), and very rarely used the bass on the left fingerboard. The entire tune performed by Khagauj consisted of one knee, which was repeated 12 times.

Subsequently, other performers recorded an increase in the number of knees and textural changes. For example, “Islamey” by Pago Belmekhov, recorded on a phonograph and transcribed by Grigory Kontsevich in 1931, already consists of three knees, and only the middle one is “Khagauj’s legacy.” The beginning (first knee) and the functional cadence (third knee) are added to it - the beginning and end of the tune. The beginning consists of two sound complexes: a long-sustained sound (the highest sound of the strumming) and a descending sequence, in which there are sequential, return and descending progressive constructions in the volume of sixths. P. Belmekhov's harmonica was the leader in a small ensemble with the participation of rattles and vocal support, so the performance was full-bodied and rich. Instead of a long sustained sound, the same Pago Belmekhov used its rehearsal repetition, which is reflected in the musical version of the recording proposed by G. M. Kontsevich. At the same time, it is possible that the performer used fur work, simulating rehearsal repetition (audio 02).

In the performance version by Kim Tletseruk in “Islamey”, 7 tribes are already canonized (audio 05). The version notated by K. Tletseruk began to be performed professional musicians like a concert piece. None of the folk musicians plays all 7 knees in one composition. Depending on the level of skill of the musician, 4–5 steps are used in the tune, but none of the folk accordion players ever play 2–3 steps, because in this case the tune seems to them incomplete, unfinished, devoid of beauty and perfection.

Khagauj is characterized by terminal and culminating longs in the form of long durations. In the end longs, a triad can be added to the reference sound, and the culminating longs are a kind of hang-ups on high sounds, marking the most “temperamental” fragment of the tune. After 100 years, the final and culminating longs are performed only with textured “coloring” - a “shimmering” third or fifth “swings”. The last technique very accurately imitates the sounds of a two-stringed shychepshchyn - voicing strings tuned to a fifth. In the traditional game of Shychepshchyn, the sound is alternating open strings, along with a harmonically taken fifth, is a typical beginning or ending constant. Therefore, a similar use of the pivot fifth in playing the harmonica is perceived by ear as an imitation of the sound of a traditional violin. The “flickering” third is also partly associated with the imitation of the shychepshchyn, but the pulsating third tone, which determines the modal basis of the melody, is most associated with the rhythmic basis of the tune and the new timbre color added to the rhythm of the phachich (Adyghe rattles) accompanying the tune (audio 03, 04) .

The development of the instrumental tune “Islamey” is inextricably linked with the formation of Adyghe harmonica music as a whole. The widespread use of the harmonica in the Adyghe environment coincided with the advent of radio, which changed the auditory musical space of ethnic culture. If previously the “public ear” was content with the playing of local musicians, i.e., accordionists of a given village or nearby settlements, then with the advent of radio, the playing space of musicians expanded to the limits of radio reach. It is likely that through selection in the oral tradition the most expressive elements, easily remembered and learned by the next generation of harmonica players. Almost everything Soviet era Adygea broadcast included mandatory 15-minute morning music programs and programs at the request of radio listeners. There are cases when beginning harmonica players tried to play in unison with their favorite performer on a radio recording. Some learned the text from records, achieving synchronous sound. Thus, the radio accelerated the auditory-motor processes of mastering harmonica performance and provided a wide field of various performance options and intonation complexes characteristic of both the sublocal tradition and the entire Western Adyghe region. On the one hand, through variation and selection of the “best” intonation complexes, the number of knees in the tunes increased, and on the other hand, the content of the knees themselves changed towards greater completeness and expressiveness of the sound. The harmonica introduced a new mode-harmonic basis for music, which fundamentally changed musical thinking. The latent struggle between old and new can be read in the constantly changing designs of the harmonic and its stabilization only in the second half of the twentieth century.

The solo-bourdon (polyphonic) traditional Adyghe song, practically not heard on the radio and rarely heard in everyday culture, still remained a sign-marker ethnic identity and cultural self-determination of the Circassians. Harmonic thinking did not become decisive for the Western Adyghe region. The finished bass was perceived as an alien element; resistance to it was powerful and effective. In the classical diatonic harmonica, which Madin Huade created, the basses still remained phonic, their harmonic nature was overcome both by the design itself, which was not harmoniously consistent with the main structure of the harmonica, and by the performing forms.

To consider or not to consider harmonica music and, more broadly, harmonica culture as traditional, or to agree with the opinion of individual scientists who determine the entire musical culture oral tradition of the twentieth century by post-folklore, i.e. folklore existing in another cultural space related to mass media, amateur and academic art, interacting differently with other ethnic cultures? One cannot but agree with I. Zemtsovsky’s statement about the presence of five “civilizations” within any modern ethnic culture. We are talking about folklore (peasant), religious, oral-professional, written-professional (professional compositional creativity of the European tradition) and mass “civilizations” of culture, existing in parallel and unevenly, having different sources, intersecting and feeding each other. The designated integrity is called by the scientist “systemic stratigraphy of ethnic culture.” Analyzing the intonation complexes of Adyghe traditional violin and harmonica tunes, we are convinced that the systemic stratigraphy of ethnic culture has horizontal (“civilizational”) and vertical (historical) connections. The latter are determined by the ecological laws of culture, aimed at preserving and preserving ethnic-sign intonation complexes.

So, throughout the twentieth century, Adyghe musicians-harmonica players have come a long way in mastering pshchyne - the Adyghe harmonica. They learned to make sounds with both hands at the same time, to play different positions, change the tempo of execution, speed it up to its maximum capabilities. The Circassians repeatedly remade the borrowed harmonica in such a way that it was as close as possible to the traditional sound ideal. Ready-made harmonica basses are not used at all or are used only as phonic paint. But the main thing is that harmonica players have learned to reproduce those stored in historical memory violin “block complexes”, adapting them to the unusual scale of the accordion right fingerboard. In the end diatonic harmonica at the end of the twentieth century, it sounded “in the ancient way” and began to convey the intonations and melodic turns inherent in traditional violin music.

MUNICIPAL

BUDGET GENERAL EDUCATION

INSTITUTION

"BASIC SCHOOL No. 27"

PROJECT ON THE TOPIC :

"Adyghe dances"

Work completed:

Gets Maria

Supervisor:

Teuchezh L.B., teacher of the Adyghe language

2017-2018 academic year

Passport ……………………………………………….

Introduction……………………………………………………………………………….

Relevance of the topic, problem, purpose and objectives of the project…………..................................... ....

Main content of the project

PREPARATORY…………………………………………………………………….

BASIC…………………………………………………………………………………..

FINAL………………………………………………………..

II Collection, processing and study of information:

What is dance?

History of Adyghe dances

Name of Adyghe dances

Conclusion………………………………………………………………..

Conclusions, results of the project…………………………………… ……………….…

List of references……………………………………………………………….

Application…………………………………………………………………………

Project passport

Adyghe dances

Executor

Gets Maria

Project managers

Teuchezh Larisa Baizetovna

Academic year in which the project was developed

2016-2017 academic year

Foster a sense of unity and friendship.

Subject(s) for which the project

relevant

Adyghe language

Project type

Long term

Project implementation timeframe

2016-2017 academic year

Project activity product

INTRODUCTION

Relevance

To introduce and interest children in Adyghe culture

Dance is one of the most oldest species art. The Adyghe people have been creating their own original choreography for thousands of years. Dancing, and music in general, played and continues to play an important role in the life of the Adygs. Circassian children began to dance from an early age... the first step is the first dance, the kids took their first steps to the music.

Project topic: Adyghe dances

Target: To foster a sense of cohesion and friendship.

Project objectives:

Study literature related to the history of Adyghe culture;

To cultivate a sense of respect for culture, interest in the past, traditions and dances of the Adyghe people;

Improve your work skills creative project.

Main content of the project

The Adygs love dances that express the soul of the people. Neither a wedding nor a holiday is complete without them.

WHAT IS DANCE?

Dance is an art form. In it, through body movements and music, images are created and a special meaning is conveyed. All action in the dance is accompanied by music, which sets the rhythm, speed and mood of the dance, which is reflected in the movements of the dancer, in the figures that the choreographer plans, in the overall composition of the dance.

HISTORY OF ADYGHE DANCES

The emergence and development of Adyghe dances have an interesting and deep history. They are based on religious and cult dances. In ancient times, dances with the participation of large masses of people were magical acts that were supposed to ensure good luck in the fight against the forces of nature, bring success in work, in hunting, in battle with enemies, etc.

Adyghe dances are part of the culture of the peoples of the Caucasus, which has remained practically untouched and has survived to this day in its unchanged form. KCR is famous a large number dancing

NAMES OF ADYGHE DANCES

“Islamey” 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 noticed an eagle and an eagle circling in the azure sky, who 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 express to her everything that had accumulated during his 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 girl. Here, imitating the style of eagles, he used a new dance pattern - movement in a circle. the girl understood his plan, and the young people were able to express all their feelings to each other in their dance. Since then, this dance was born, which was called “Islamey” - “belonging to Islam.”

“Uj” 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 technology, which allows performers to create intricate patterns. “Uj” is ubiquitous and has numerous variations.

Uj dance

Kafe - dance of the princes of Circassia. In the old days, only people of noble origin danced it, which gave it such a title. Smooth, unhurried dance, with a strict and clear design. Today, few people dance it correctly, but it is believed that everyone who dances it is obliged to observe the traditions of their ancestors. The ancient dance "Kafe" is the soul of the Adyghe people, their character, face, their pride. It shows the beauty, greatness and inner dignity of a person, creates a hymn to courage and nobility.

KAFE DANCE

ENSEMBLE "ISLAMEY"

State Ensemble folk song and dance of Adygea “Islamey” was created in 1991. The main purpose of creating a team is to revive and preserve folk songs Circassians

ENSEMBLE "NALMES"

The word “Nalmes” translated from the Adyghe language means “ gem" Created in 1936, Nalmes immediately took a special place among the creative groups of Adygea. Over the 75 years of the group's existence, many ancient dances have been revived.

ENSEMBLE "KAFA"

The university ensemble was created in 1957 on the initiative of students. Initially the ensemble was called “KABARDINKA”, but in 1982 it was renamed the folk dance ensemble “KAFA”. During its existence, which is more than 50 years, it has become a true school for nurturing a love of culture and folk choreography.

ENSEMBLE "Highlander"

Folk ensemble Caucasian dance“Highlander” was formed in 1971. The team received the title of national team in 1985 for its significant contribution to the development national culture student youth North Caucasus. The ensemble is a shining example of a large, friendly multinational family in which everyone stands by each other.

CONCLUSION

Students know and love Adyghe dances, respect Adyghe culture and strive to gain more in-depth knowledge about Adyghe culture and the culture of other peoples. I want to continue working in this direction and share the knowledge I have gained with classmates and other students.

CONCLUSION

So, dance is the oldest form of expression of feelings and emotions, and as a form of communication, dance appeared in human society much earlier than language. In every culture on our planet, dance has left a big mark, with its help they celebrated important events, sacred secrets were transmitted and even diseases were cured. The power of dance can not only lift your spirits, but also find lost harmony in your relationship with others, with yourself and your body.

References:

Mafedzev S. Kh. Adygi. Customs, traditions (Adygehabze)

Christopher Ardavasovich Baladzhiyan “Adygea”

Bgazhinokov B. Kh. World of culture

The formation of the folk dance culture of the Circassians over the centuries was not easy and was in constant search. The 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 special forms, techniques and character over time, 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 were completely inherited from the Adyghe warriors who participated in numerous Caucasian wars.

Syncopic rhythm is a consequence of the horse's running translated into dance movements and its perception by the riders - the warriors. These dances also contain best qualities Circassians - pride, modesty, heroism and fortitude. For an Adyghe, dance is like a manifestation of the principles 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, there was always music, singing, clapping and, of course, the dance itself with jumping and unusual sharp movements.
Since ancient times, the Circassians have preserved original dance tunes and theatrical pantomimes with dance numbers (dzheguako, agegafs).

Improvisation and acting inventions 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.

Many Adyghe dances are based on mythological concepts: “Dyg’e” or the sun is a kind of code for the national dance. Thus, the shape of the sun contributed to the emergence of circular dances. But the greatest source of the content of the Adyghe dances is the Nart epic: “One day the brave Narts gathered on a black mountain and started dancing, competing in a dance with the Narts. Shabotnuko jumped onto the three-legged round table and began to dance, without spilling even a drop of seasoning and without disturbing the order...”

The most characteristic features of 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 specific elements of a particular dance. This is how a deep revelation of the content of the dance occurs.

Second: the dancer’s head is usually directed towards the partner. When dancing, girls tilt their head to one of the shoulders and, if necessary, turn it in one direction or another, modestly lowering their eyes. Young men always hold their heads proudly raised; they turn in the required direction more sharply and impetuously.

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

The shoulders of the dancers. They turn synchronously with the body, emphasizing severity, restraint and pride. During turns, the corresponding shoulder is the first to slowly begin to move in the desired direction. Girls lower their shoulders a little, and boys keep them straight and slightly turned out.

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

There are many dances in Adygea that require skill and perfection. Such of them as Lezginka, Hesht, Lo-Kuazhe, Kafa, Uj are at the same time complex, stately and beautiful. 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 mercies received from the ancient gods, this is a reflection of life in all its many-sided beauty, this is the path to understanding the vast and meaningful world of human feelings. Deprived of its emotional content, dance ceases to be art.

Photo at the top of the article from the site http://nazaccent.ru

Maykop, April 17 - AiF-Adygea. Every nation has traditional dances, and despite new ones modern styles, every significant celebration of any nation is accompanied by folk dance. And perhaps this is not only a tribute to tradition. After all, nothing reflects a person’s character better than 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 ritual in honor of the god of fertility and agriculture Thagaleja.

One of the very first dances of the Circassians, which has survived to this day, is “uji”. It resembles a round dance. “Uji” dance holding hands and moving in a circle in a certain rhythm. This dance usually ended every celebration, 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, the choreographic designs of many dances reflect echoes of the cult of the sun, for example in the fact that the direction dance movement walks 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 “chapshch”. It was carried out during the treatment of the wounded and consisted of young people gathering at the patient’s bedside. They played games, sang songs and danced to distract the wounded man from his pain. It was believed that such a ritual contributed to a person’s recovery.

Types of dances

We can distinguish several traditional dances of the Circassians with a certain plastic pattern and individual rules - tlepechas, uji, zafak, zygetlat, islamey, Kabardian islamey and Kabardian kafa.

With expressive dance you can show your feelings and attitude towards a person (Adyghe etiquette - “Adyghe khabze”). This can be most clearly observed in the pair dances of the Circassians. The movements expressed both the character of the Adyghe man and the Adyghe woman, as well as the nature of their relationship. Thus, the main masculine qualities were nobility and restraint, and the feminine ones were sophistication and grace. Through dance, acquaintance and communication took place, so, one might say, each dance had a specific task. For example, by dancing “zafak”, acquaintance took place. In it, a guy and a girl either approach each other or move away. The name “zafak” itself translates as “to meet halfway.”

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

"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 ensemble folk dances of Adygea "Nalmes". He protects and promotes folk dances, and also creates new compositions, images and performances. “Nalmes” has toured almost all continents of the world. Visited the USA, France, Japan, Italy, Czech Republic, Turkey, Syria, Israel, India, UAE and Libya. And in each country the public warmly welcomed Adyghe art.

Today, not a single festive event is complete without traditional dances. The youth of the republic really like to organize “jaga”. This is a game that has its own leader, and the behavior of the guests is regulated by certain rules; “jegu” is performed at almost all special 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 portray both characters and state of mind and actions.