TAJIKISTAN DANCE

 

TAJIK DANCE

Dance in Tajikistan is for the most part famous social component of which is designated "Raks" in the local language and at times happens in the "Bozi" structures, "Usul" or "Argusht". Tajik dance is firmly connected with the existence of individuals, going with every one of the critical occasions of his life: birth, family festivities, and diversion. and so on. It has a long history. The most notable Tajik dance as far as the classifications considered Pamir and Kulyab which are made sense of underneath.

The historical backdrop of dance in Tajikistan:

 Old landmarks of the expressive arts and the composed sources show wide spread of music and dance in an existence of Tajiks precursors. For instance, the picture of a gathering of moving individuals with tails should be visible in rock workmanship 2-1 thousand years BC in Saymalitash collapses the Ferghana Valley; pairwise pantomicheskie moves painted on rocks in the mountains stones Sarmish (first thousand years BC, 60 km north of the city of Navoi). and so on. As per Avesta, an assortment of strict texts, the old holy complex melodies sung with pantomimic moves. Bacchus Display of pictures shows up on the module Ryton 2. BC from the Parthian Nisa. Among the multi-layered brilliant members - stripped or covered with skin and bare artists.

Figures of entertainers, specialists, tumblers embodied in different milestones of Greco-Bactrian workmanship. Dance was ordinary in the domain of the Kushan time period (2-1 centuries BC). Hence, on the walls of the room in the northern uncovering Khalchayan (near the high level city Dehnau) showed some court administration. Here you can see the moving young women. craftsman manikin unearthed Zartepa slant (Gold Slant, near Termez), which is the excess pieces of one of the metropolitan region of the Kushan time span. Isledovateli attach the craftsman with the function committed to the group of Dioonisa. At the most elevated mark of the bas-help on the mass of the palace Varhasha (VIII 100 years) moreover depicts a craftsman, stirring things up around town floor with a scarf threw over his head. In outdated Penjikent (VII-VIII many years) on one of the wall materials found areas of formal moves picture.

Especially fascinating is the strength of creative execution figure of a youthful artist in dance, with an instrument in their grasp. (Note that this dance is there and presently). There was found scorched figural cutting portraying an artist. The craft of dance specialists, particularly artists of Samarkand and Bukhara, was on high to such an extent that it pulled in the consideration of adjoining eastern nations. Chinese verifiable records note a ton of notoriety in China in the VI-VIII hundreds of years Focal Asian visit artists, among whom were Tajiks of Samarkand and Khujand. In this way, given the portrayal of the Samarkand female moving ready. We have heard commendatory tributes of artists composed by Chinese writers.

The "Shahnameh" Firdausi (X hundred years) and various different works of the works of art of Persian-Tajik writing while portraying galas and excitements, we track down not just the names of antiquated instruments and insufficient reports of male and female artists.

In XV-a-century royal residences and town squares were devouring and theater celebrations. They frequently elaborate the artists. Zayniddin Vasifi Mahmoudi in his journals "Badoe Vakoe Road" ( "Astounding Occasions" the XVI hundred years.) Notices numerous Tajik vocalists and artists of his time. Among them are the names of the most conspicuous artists - Maksudali, Tohiri Chakka, Mohchukurak, and others. As indicated by the declaration of Babur (XV 100 years.), The renowned artist of his time was Saad Badr. Artists and portrayed in miniatures 15-17 centuries.

So well established old Tajik people dance. It depends on old ceremonies, games, emulate, accounts of life. Tajik dance has come a long and troublesome way. Continuing on from one age to another, he protected numerous antiquated highlights, obtained recent fads. With the appearance and presentation of experts and different extras are muddled dance method, yet additionally extends its range of types. By class content, structure, character and execution in various different highlights society dance is partitioned into a few gatherings.

In XV-a-century castles and town squares were devouring and theater celebrations. They frequently elaborate the artists. Zayniddin Vasifi Mahmoudi in his journals "Badoe Vakoe Road" ( "Astounding Occasions" the XVI 100 years.) Notices numerous Tajik vocalists and artists of his time. Among them are the names of the most conspicuous artists - Maksudali, Tohiri Chakka, Mohchukurak, and others. As indicated by the declaration of Babur (XV 100 years.), The popular artist of his time was Saad Badr. Artists and portrayed in miniatures 15-17 centuries.

So well established antiquated Tajik people dance. It depends on antiquated ceremonies, games, emulate, accounts of life. Tajik dance has come a long and troublesome way. Continuing on from one age to another, he protected numerous old highlights, obtained recent trends. With the appearance and presentation of experts and different adornments are convoluted dance method, yet in addition grows its range of classifications. By class content, structure, character and execution in various different highlights people dance is partitioned into a few gatherings.

The most seasoned are the dance-emulate in view of the impersonation of creatures and birds ( "Sherbozi" - "Levý", "Ukobbozi" - "Hawk", "Rubohbozi" - "Lisa", "Nail veneer Bozi" - "Stork, etc. d.) Entertainers wearing veils or semi reasonable way with incredible energy of perception and more unmistakable developments are passed on the propensities for these creatures.

In old times, any ceremonial moves. Some of them have made due. In the far off towns of the Pamirs I continued to move around the dead - "Poyamal".

 Normally Poyamal executed by direct relations of the departed, priemuschestvenno ladies. Similarly antiquated moves, replicating work - "Guillem Vift" (woven carpets), "Shibitz" (Squashing fleece), "Angusht Oshpaz" (Dance of the cook, etc. It has for quite some time been known for macho moving, based areas of strength for on developments, sharp turns and unexpected quits, finishing with sculptural postures. These incorporate "Shamsherbozi" (Saber Dance), "Kordbozi" (Dance of blades), "Kaltakbozi" (hit the dance floor with sticks), very much protected in the Pamirs.

One more class of structure moving hitting the dance floor with instruments in the possession of a private and correlative backup: "Argusht bo Dutor" (with dutar Dance), "Argusht bo doira" (Hit the dance floor with a tambourine), "Rax bo gidzhak" (Hit the dance floor with gidzhak) and other . A unique kind of Tajik society hit the dance floor with objects: spoons (Koshukbozi), containers (Argusht bo Cuza), tea (Choynikbozi), stone kastenetami (Kayrokbozi), earth dish (Tablakbozi) and others.

For one of the gatherings incorporate dramatic, completed choreographic miniatures, equivalent to "Aspbozi" or "Harakbozi" (dance on a wooden pony), "Ushtur ba Katori" (Dance of a convoy of camels), "Kemabozi" (Dance of the boat), and others. These moves naturally joined with emulate including signals and developments, components of emotional games and bazaar expressions. They frequently performed and is as yet performed during the middle age society expos and amusement parks are presently in the occasion Navruz.

Dance Tajiks naturally remembered for the accommodation of the entertainers - maskharabozov, people manikin theater in imaginative society carnival specialists, (for example, high-wire that associated convoluted bazaar acts with dance on the rope, hodulehodov, craftsmen, shuffling containers, dishes). The society melodic shows Pamir - "The Elderly person", "Mongol", "Dervishes' dance is one of the primary method for articulation, frequently supplanting the exchanges and speeches of the characters of the play. Abundance has led to different subjects of society moves and unique rhythms, developments, shapes, positions, drawing. Regardless of the various styles, the assortment of performing style, Tajik dance has various normal highlights. For his purposes described by a plot, most importantly. Not exclusively is the whole dance, however even a solitary development is the premise of the plot. Expressive developments, emulate artist discusses her life, demeanor, regard for nature. The Tajik dance centers around the development of the hands, head and shoulder support. Development of the legs (strokes) are of auxiliary significance. Hands entertainers continually in real life, they appear to wind around designs, sing, offering viewpoints and sentiments. Arm developments are as one with the developments of the whole body, with looks and movement gaming entertainer. Just in this mix they uncover the substance of the dance.

One of the trademark elements of Tajik people moving is extemporization. This frequently preferred because of the absence of severe succession of developments. Craftsman following the cadence, the temperament of the dance, ad lib, rhythm and picks the suitable imaginative means. This is reflected in the determination of developments, yet in addition in the piece, in the figure of dance, which is completely the cloak on the expertise level and artist dream. Tajik dance went with doira backup, group of society instruments. The roads and squares during special times of year, fairs and weddings he performed to the backup of wind and percussion instruments. Financial and verifiable contrasts, geological normal circumstances, language, character and lifestyle of various locales of Focal Asia, the Tajik populace prompted the arrangement of a few Tajik dance styles.

Without a doubt think Pamir, mountain, Bukhara and style of Northern Tajikistan. Every one of them is partitioned into a sort of gathering, t. To. Numerous regions have their #1 dance unique execution style, his style of ensemble, unmistakable rhythms and songs that mirror the person and disposition of the occupants of the area. In the nineteenth and mid twentieth hundreds of years. in Bukhara, Samarkand, Shahrizsabze, Kerki, Kermine with the native populace of the Tajik society workmanship proficient artists "Sozanda" was dispersed. The term sozanda assigned as the class of Tajik public melodic and dance workmanship, so its agents. This workmanship was brought into the world back then, while the predominant culture of the old Focal Asian urban communities, creates prospered, there are new sorts of family festivities and entertainments and the relating new kinds of correspondence between individuals.

Craftsmanship made arrived at an elevated degree of expertise particularly in Bukhara. Artists are just serving the female portion of the house, totally segregated from men's eyes; performed at weddings and other family festivities. Entertainers joined in the group (Dasta) of 3 to 4 individuals., Among which there were a couple of artists (sozanda) and a few doyristki. Most groups incorporated an artist and three doyristok. There was no such thing as extraordinary schools for the preparation of expert artists. Commonly, every artist had a couple of understudies from among their family members or dear companions.

Since early on in the regular daily existence of taught creative dance and melodic taste understudy. She obtained the vital abilities. Ordinary sozanda collection comprised of moving, "Kai-rakbozi" Ravonna << >>, << >> and << Sokinoma 3ang ". All cyclic: begin gradually, with restriction; with an emphasis on routine developments are utilized as foundation. Then, at that point, follows a speedy dance songs "ufar" or the first "Furovard", where the entertainer, moving to the somewhat simple residing verses, keen on dance. Then comes the second furovard - quick dance cadence. Here, the text turns out to be very basic in nature and in this way offers more space for more successive dance rhythm. From that point forward, a progressive ascent starts the last change to unadulterated movement - to the "Good countries", which requires living beat, lively cadence, liberal sign of feeling and personality.

Dance sozanda for its high imaginative degree of choreographic and melodic design, metro-cadenced components is altogether different from other dance regions populated by Tajiks. At the court of the Emir of Bukhara there was a particular organization sozanda, which added up to half of the female dance theater - "Urda hosagi" (individual group of concubines), which governed the mother of the Emir. The group taken most skilled e celebrated sozanda of individuals. They looked for emir syschitsa. The dance group Male half taken proficient youthful artists from unfortunate families. In the final part of the nineteenth hundred years. Bukhara renowned sozanda Ёkut Oraz and Shoista.

In the last quarter of the nineteenth and mid twentieth hundreds of years. incredible acclaim won sozanda Anbar Ashk, Kelin Guli Surkh. In the initial twenty years of the twentieth 100 years. appreciated wide fame Yodgor names latofathon, Pocci (Podshoh) Mullodzhoi (or Mullocha). In the 20-ies. our century have found acknowledgment among watchers and such capable e sozanda - like Your Karkigi, Mihaly Karkigi, Khalili Karkigi where, Chervonhon, Gubur, Bachmann, Noshpoti, Naboth, turunj and others. Hudozhestveinye custom sozanda individuals live in and create. After the October Insurgency, there is the most elevated blooming of people dance.

Dance workmanship is generally remembered for the life and public activity of the Soviet man. Moves and tunes joined by every single Soviet occasion. In the 20-30-ies. people moves were generally moved to the Dad stage and society structure flawless. With the reinforcing of the expert theaters and improvement of abilities of the Soviet choreographers, they got back to the turn of events and advancement, simultaneously really famous and brilliant society dance theater changed structure. Alongside individual dance last show up, for a really long time, were missing in the existence of individuals, the pair moving people moving group of four lastly, mass moves and dance suites.

In the past occasions and family festivities moved all the while by a few group. Yet, it was the presentation of various craftsmen, excited about their dance and show their abilities, making a huge dance choreographers chose trademark developments of Tajik dance and other expressive plastic means, looked for and tracked down the drawing and organization, subjects them to a particular arrangement, plot. Not losing the association with people material, they made a new thing. So there were huge hit the dance floor with pitchers, Suzane dance weaving, cotton Dance et al., In light of the customs of people moves, portraying the course of work dance, emulate game means.

Tajik Fayzpbaev choreographers M., A. Islamova, A. Protsenko, G. Valamatzade, B. Glleyzovskol-the later Azimov, Kh Khakimov, R. Bakkal, Amiizade Z. et al., As well as numerous delegates of Soviet craftsmanship , portrayed Chase coordination old stories with innovative creative mind. Their moves are innate in the extending of the substance improvement method for articulation and the safeguarding of a novel people craftsmanship. Female and male dance procured new quality. Female dance, for instance, quit being just a sluggish, deferred, restricted in his developments. New performances are loaded with pride, of opportunity, of bliss, of positive thinking, which makes the execution of fast, vivacious, sensitive, lively person. New time has brought new subjects, plots, characters. There are new moves, for example, << >> Shodiyona ( "Satisfaction"), Dugonaho << "(" Companions ")," Vohuri "(" Meeting "), and others.

In making new moves in light of people, in the advancement of the best people choreographic craftsmanship tests more prominent pretended Tajik State Philharmonic Culture (coordinated in 1937), Tajik Scholarly Drama and Expressive dance Theater. Aini, melodic and show theaters Khujand, Khorog, Kulob, people theater and melodic novice gatherings. In 1965, Gossudarstvenny gathering "Lola" Tajik dance was laid out (Imaginative Chief GR Valamatzade), who fabricated his collection of dance on a wide abundance of Tajikistan and the nations of the Soviet and non-Soviet East. The outfit has visited effectively in the Soviet Association, Afghanistan, Iran, India, France, Belgium and others. Nations. In 1978 the dance outfit << Zebo ", which immediately acquired fame among watchers (imaginative chief Z. Aminzadeh) was laid out under the State Advisory group on TV and Radio of the Republic. Among the greatest society dance aces - B. Khamidov, S. Khodzhaev, Pasar H., G. Valamatzade, Isomova O., A. Iskhokova, A. Asimov, A. Nosirova and others.