The Great Steppe gave birth and brought up hardworking Kazakh people, besides giving him a daring temperament. Dance, like other forms of national art, has long existed in the life of nomadic herders and in artistic images conveyed all its features.

If you look, the Kazakhs spend their whole lives with songs and dancing. Folk holidays, meeting friends, weddings,banquets, and even the funeral of relatives is not complete without songs and dances. They need just a few dombrand sybyzgyto dance. This is folk art., like no other, clearly demonstrates the originality of life of Kazakh nomads and the richness of their inner world.

From time immemorial, the art of dance has been handed down from generation to generation, each clan had its unsurpassed masters. However, kazakh folk dances never had clear choreographic rules and a canonized image. Most often, they were performed in the form of free improvisation, which allowed, through certain stylistic manners, to throw out an emotional, cheerful temperament.

Theme folk dances  it is wide and multifaceted, the preserved dance miniatures are confirmation of this, among which are labor ones (“Ormek bi” or the dance of weavers), hunting dances (“Koyan bi” - hunting with a golden eagle for a hare, “Kusbegi-daulylpaz” - training for hunting a hunting bird) as well as dances-competitions ("Utys Bi"), satirical, comic, humorous ("nasybayshi"), parodies of animals ("orteke" - arkhar-jumper, "tepenok" and "punishment jorga" - pace run and dance horse, “ayu bi” - bear dance), dancing with objects. Also in musical folklore, lyrical theatrical dances with choral singing, round dance, etc. were also common.

There were dances - competitions, designed to show the endurance and dexterity of dancers, dance games and even religious dance, performed only by shamans of the genus, as a sure means for "expelling evil spirits" and treating patients.

Dancing Kazakhs They were divided into household and masquerade, dancing alone or group dances. It should be noted that unlike the Uzbeks, Tajiks and many other eastern peoples who profess Islam, the Kazakhs had pair dances performed by a young man and a girl, such as “ koyan-golden eagle» (« Goyan Burkit»).

As such schools, teaching art of dance, as it was in India, China, Japan and other countries of the East, the Kazakhs did not exist. Canonical forms of folk dance choreography were also absent. Each clan had its own master nuggets, who were in the position of jesters or folk amusement comedians ("ku"). Sparkling improvisation and incredible charisma are indispensable conditions for the success of folk dancers.

Vibrant expressiveness of performance, mobility of shoulders, sharpness of movements, the so-called “play” of joints, flexibility, tension and body assembly, which allowed dancers to incorporate complex acrobatic techniques, were inherent in male dances.

The most specific and complex were the dances on a horse, and it was not horse riding. The art of horse riding  every Kazakh owned from childhood, and only professional dancers were able to dance while standing in the saddle, whose trained horses, as if hypnotized, obeyed a given rhythm. Such a dance was certainly performed to the accompaniment dombraor drumthat set the right pace and served as the basis for streamlining dance movements.

Kazakh women, obeying Muslim laws, rarely danced in public, but over the centuries of development musical culture  and a certain set has developed in female dance dance elements  and pa.

Unlike male dancing, women’s dances are more restrained and calm, they do not have sudden movements and frantic rhythm. The main expression of the choreographic drawing here are the eyes and hands of the dancers.

Soft, smooth gestures, calm transitions from one position to another, hand movements accompanied by rotation of the hands “away from you” or “to yourself”, performed easily and undulating, and sometimes beating objects (a mirror, a flower, a scythe) - the main attributes of the fascinating dance of the Kazakh women.

However, feudal and religious prejudices hindered development for many centuries. dance culture, and art of dancenot as widespread as musical creativity, and by the end of the 19th century it was almost lost. And only with the advent of Soviet power, this incredible beautiful view  folk art began to gradually revive.

Nowadays kazakh dances received a new development, more and more people imbued with the idea of \u200b\u200bnational identity, is interested folklore  and joins the ranks of admirers of this extraordinary creativity. And today, having arrived in this hospitable country, you can see wonderful samples of this folk art, over time, did not completely lose their characteristic, cheerful, easy and mass style, fiery cheerfulness and incredible charm of the Kazakh people.

Since the Kazakh dance is in the process of becoming, it would be wrong to canonize some positions and hand movements as the only ones possible in the Kazakh choreography. This section indicates the positions and movements of the hands that are most characteristic of Kazakh dances at this stage of their development. Undoubtedly, in the future the circle of such movements will expand, mutate and enrich.

The Kazakh girl is characterized by soft, smooth movements of her hands, calm transitions from one position to another. Hand movements can be accompanied by rotation of the hands “away from you”, and sometimes “towards yourself”, and the rotation is done smoothly, wavy.

Young men have stiffer hands, change positions more sharply. Sometimes brushes are bent and directed by the palms “away from you”. Rotational brush movements are not peculiar to male dance.

In a number of Kazakh dances, hand movements are based on playing on an object, genuine or imagined.

So, in a man’s dance, a bow, a nut can be played, in a woman’s dance - a braid, bracelets, sleeves, etc.

In the Kazakh folk dance, hands play an extremely important role. They perform, in addition to the technical, and plastic function. Hands in the Kazakh dance, especially the female one, not only decorate it, but also reveal the content, sometimes they “lead” the dance. Therefore, special attention is paid to the development of their plasticity and flexibility.

There are six hand positions in Kazakh dance:

Starting position.

Both hands are freely down on their sides. In girls, the fingers are rounded, in boys, the fingers are straight.

1st position 2nd position 3rd position

1st position.

"Salem"(bow). Hands with rounded elbows pointing forward, raise in front of the body, palms facing the viewer. Both arms are raised forward, elbows are rounded, hands are slightly raised, fingers are directed forward.

2nd position.

“Kus-ropes” (bird wings) Raise your arms to the sides, holding them freely at your elbows, direct the hands with palms down, fingers open. Both hands are raised to the sides, free at the elbows, the hands are directed palms down, fingers to the sides. In girls, the fingers are rounded, in boys straight.

3rd position.

« Kos Muiiz"(Horns). Raise hands with rounded elbows up, for girls: palms up, fingers to one another. In young men, the hands are clenched in a fist and directed from the side of the palms forward; the performer, as it were, holds a nut, bow, rifle, etc.

4th position.

Sauleke(girl’s headgear). Move one hand to the 3rd position, the other hand, bend at the elbow, hold in front of the body. Direct the brush with the back towards you, palms up from you.

5th position.

“Sanyr Muyiz”Take one hand to the side, raise the other in the 2nd position with the palm toward you, the palm of the outstretched hand is stretched down.

6th position.

Belbeu (sash). Movement for men - arms rounded at the elbows are on the waist, fingers grab the belbeu (sash).

Or: the left hand lies sideways at the waist, clutching the sash with your fingers. The right hand can be in the 2nd, in the 3rd position. In the 3rd position, the brush is held in a fist and, as it were, holds a nut, bow, etc. The body is either straight or slightly turned with the left shoulder forward.

6th position (second view).

"Cams"(whip). raise your hand to the 1st position, i.e. forward, the other - in the 3rd position, i.e. raise up, fingers clenched into a fist.

Hand position.

1st position 2nd position 3rd position

1st position (female and male).

One arm is raised up to the 3rd position and slightly laid aside, the other is raised to the side in the 2nd position.

In girls, the elbows are rounded, the hands are raised, the palms are “away from you”, the fingers are rounded.

When the left hand rises to the 2nd position, the body slightly turns with the left shoulder forward.

In young men, the elbows are straight, hands are raised, palms are directed "away from you", connected by fingers up.

2nd position (female).

Both hands are pointing one way. The right hand is raised to the 2nd position, the elbow is bent, the hand is directed palm down, with rounded fingers to the side. The left hand, bent at the elbow, is in front of the performer’s chest, is pulled away from the body, the hand from the elbow to the hand is parallel to the floor, the hand is straight, palm to the bottom, with rounded fingers to the right. The body is slightly deflected by hand. The head is turned towards the outstretched arms: the performer, as it were, looks at the hand. Hands may change directions.

3rd position

The right hand is in the 3rd position, the elbow is rounded and directed to the right, the hand is bent, the palm is directed up, the fingers are rounded to the left. The left hand, bent at the elbow, is located in front of the performer’s chest, is pulled away from the body, the hand from the elbow to the hand is parallel to the floor, the hand is directed with the back side “toward you”, with the palm “away from you”, fingers are rounded. The body is slightly inclined to the left side and is directed with the left shoulder forward. The head is turned to the left shoulder. Hands may change directions.

4th position 5th position

4th position (male).

The left hand lies sideways at the waist, clutching the sash with fingers. The right hand can be in the starting position, in the 2nd, in the 3rd position. In the 3rd position, the brush is held in a fist and, as it were, holds a nut, bow, etc. The body is either straight or slightly turned with the left shoulder forward.

5th position (male).

The right hand can be in the 2nd, in the 3rd position. In the 3rd position, the brush is held in a fist and, as it were, holds a nut, bow, etc. The body is either straight or slightly turned with the left shoulder forward.

Hand movements

Movement number 1 (female). Changing the direction of the hands in position No. 1.

The hands are in position No. 1: the right hand is raised up, the left hand to the side, the hands are slightly raised, directed with rounded fingers up, palms “away from you”.

Hands change directions, i.e., the left hand from the 2nd position rises to the 3rd, the right from the 3rd position is transferred to the 2nd. Changing directions is made slowly: smoothly, with the hands simultaneously with the transition from position to position perform one rotational movement with their brushes “away from you” in one rotation.

The performer transfers the hands with her palms “to herself”, lowers the hands with her fingers “to herself”, then with her fingers down, unfolds the brush with her fingers “from herself” and with; raises brushes, returning them to their original position. The body remains straight, goals, together with the change of direction of the hands is transferred to the hand raised up.

Movement No. 2. Transfer of hands from the starting position to position No. 3.

Hands in starting position. Hands rise forward to the 1st position, hands are directed palms up. Then the hands are moved to the right, to position No. 3, that is, the right hand rises to the 3rd position, the left, bending at the elbow, approaches the body at chest level, while the hands of both hands perform a soft rotational movement “away from you” in one turn. The body leans slightly to the left side, pushing the left shoulder forward. The head moves to the left shoulder.

With the beginning of the next measure, the same movement is repeated with a change of direction: hands drop to the starting position, then rise to the 1st position and are transferred to position No. 3 to the left.

Movement number 3. Opening hands forward, directing the palms up and down.

Hands in the 1st position of the palm are pointing down.

Both arms bending helbows, approaching the front of the hull, elbows retracted to the sides. Then the brushes rotate “toward themselves” in one rotation, that is, they lower their fingers down and translate their fingers “toward themselves”, open with their fingers forward, palms up, at the same time the arms, unbending at the elbows, are stretched forward.

To the next, both hands, bending at the elbows and directing them to the sides, approach the front of the body, palms pointing up. Then the brushes perform a rotational movement “away from you”, that is, they approach your fingers “towards you”, lower your fingers down, turn your fingers forward, palms down; at the same time, arms, unbending at the elbows, stretch forward.

Movement number 3

Movement number 4. Circular motion with the hand in front of the face.

Musical size: 2/4.

Hands are in the 2nd position. Due to the beat, the right hand rises to the 3rd position, the hand is raised, the palm is “away from you”, the fingers are rounded up, the elbow is rounded and directed to the right.

“Once” - the right hand is lowered, holding the brush with the back side of the left cheek, the elbow is bent and lowered down, the brush is raised and directed upwards with the fingers, palm to the left. The left hand remains in the 2nd position.

“I” - The right hand is held in the 1st position, while simultaneously performing a soft rotational movement with the brush “away from you”.

The right hand is drawn from the 1st position to the 2nd, the hand is directed by the palm “away from you”. The left hand is in the same position. The right hand remains in the 2nd position. The left one rises, starting the same movement.

Movement No. 5. Rotation of the arms crossed at the wrists.

Both hands are raised forward and crossed at the wrists, the right hand is above the left, palms pointing down.

On the “zaktak”, the arms rise from the elbow, directing the connected hands with the fingers upward, slipping in the wrists and not disconnecting, the hands turn their palms “towards themselves”, then they lower their fingers “towards themselves” and down, the bent elbows rise to the sides. On account of the “time” hands, slipping at the wrists and unbending at the elbows, are pulled forward, the hands return to their original position. The movement can be repeated several times in a row.

Movement number 6. Change of direction of hands in position No. 2.

The hands are in position X№ 2: the right hand is raised to the right, the left hand, bent at the elbow, converges in front of the performer’s chest, the hands are straight, fingers are directed to the right, palms down. The head is turned to the right.

On account of the “time”, the arms, bending at the elbows, approach the body, while the hand: begin a smooth, slightly noticeable rotational movement “away from you”.

At the expense of “two” hands, changing directions, gently and smoothly transferred to the left, in the same position. The brushes, finished the rotation, are directed with the fingers to the left, palms down. The head moves to the left with the hands, the look accompanies the movement of the hands.

Movement number 7 (female). The performer adjusts the bracelets.

The girl raises one hand forward 1st position, at the level of the chest and with the palm of the other hand runs from the top of the wrist of the outstretched arm, as if adjusting the bracelet, the hands are directed palms down. The body is slightly inclined forward and towards the outstretched arm. The head is slightly tilted: the performer admires the bracelet.

The movement is repeated with the change of direction of the hands.

Movement number 7 Movement number 8

Movement number 8 (female). "Game with braids."

The performer, slightly turning her right shoulder forward and tilting her head to the right shoulder, runs both hands on the right braid from top to bottom: right hand held by the palm over the scythe, the left hand is under the scythe, touching it with the back side. Hands, as if smoothing the braid, fall down to about the level of the waist. Then, the left hand brush casts the bottom of the braid onto the back of the right hand, while the left hand turns with the back “to itself”, palm “away from you”. Having abandoned the braid on the right hand, the left hand goes down between the right hand and the body,

After that, both hands are moved to the left and the movement is repeated with another scythe.

Dance, as a special type of folk art, has been known since ancient times. Very much carries a dance. It contains character, temperament, and the worldview of the people. The art of dance goes side by side with the art of music, touching the innermost strings of the human soul.
Overcoming the old stereotypes that dance, as a form of creativity, unlike music or poetry, was not comprehensively developed among the Kazakhs because of the nomadic way of life, today we have the opportunity to discover a truly rich world of Kazakh dance. The presence of traditional female Kazakh dances, I think, today does not raise any doubts. If twenty years ago girls could be taught the dance “Kamazhay”, now we know that among the Kazakhs there was a spread such dance as “Kara Zhor”, where the main party, by the way, remains with the men.
  It will be fair to admit that the dance of Kara Zhor, literally brought by the Kazakhs from China to our country, caused a rather ambiguous reaction in Kazakhstani society. A large number of inhabitants saw in him something foreign, repulsive, "non-Kazakh." It can also be noted that often the negative attitude to this dance was automatically layered on the personally hostile censure that I criticized for the “oralmans” - Kazakh returnees. And this is an important aspect, which sometimes causes contradictions among the people, which disappear by themselves after a more detailed study of the problem.
  To begin with, the roots of dances such as Қara Jorғa or, for example, various dances  The peoples of the Caucasus known under the name "Lezginka" go back centuries to distant pagan times, when shamans tried with various gestures to depict an eagle, a bear, a horse, a snake, and other animals. The oldest ritual dances were performed to the rhythm of tap dancing, tambourines, drums, that is, with musical accompaniment. This fact should not confuse us in any way, because among the various cultures of Muslim peoples, one can often find relics of pagan eras preserved as folk customs - adats. For example, traditions such as Nauryz or Tusau Kesu were inherited from the pre-Islamic era.
  The patriarch who brought the art of this dance to Kazakhstan and taught young people this skill is Arystan Shadetuly, Altai Kazakh. According to him, this dance has several names: “Basics bi” (“Dance of shamans”), “Buyn bi” (“Dance of joints”) and the more famous -
"Kara Zhorzha" ("The Black Pacer"). It is curious that some Kazakhstanis learned about this dance after visiting Turkey. And this is no coincidence, because the overwhelming majority of Turkish Kazakhs are descendants of immigrants from East Turkestan who arrived in 1955 after the defeat of the legendary Ospan-Batyr national liberation war. It is also an important fact that both Turkish and Chinese Kazakhs, propagandizing this dance, are for the most part immigrants from the Kerey clan.
  The prevailing opinion among the public is that, in view of the well-known persecution of the national culture of the "small" peoples of the USSR, the dance of Kara Zhor completely disappeared from the cultural space of Kazakhstan. Now we ask ourselves a question - is it so easy to destroy a folk dance? Why didn’t many folk traditions nevertheless die out, did the dombra remain, did not the heroic epic disappear? Based on this, the hypothesis is quite acceptable that Kara Zhorha gained its main distribution mainly among the Kazakhs of East Kazakhstan, Altai and Zhetysu, a significant part of which massively migrated from the oppression of Soviet power in the adjacent regions of China and Mongolia ...
  Meanwhile, there are good reasons to argue that Kara Zhora was not at all the only Kazakh dance where men participated. Although, unfortunately, their features are not well understood, nevertheless, such names have come down to us as “Zhұmyr Kylysh bi” (“Saber Dance”), “Ayu bi” (“Bear Dance”), “Өрмек би ”(“ Weaving Dance ”), the pantomime“ Nasybyshy ”,“ Orteke ”(fast-moving dance of mountain goats),“ Kusbegi ”(falconry), as well as pair male and female“ Koyan-birkit ”,“ Kelinshek ”and many others .
  In this regard, the drawing from the "Ethnographic Description of the Peoples of Russia" by Gustav-Theodor Pauli, published in St. Petersburg in 1862, looks extremely curious. The drawing, which is called the "Inside of the trolley of the Sultan of the Inner Kyrgyz Horde Devlet-Girey" (Sultan of the Bokey Horde Dauletkerei), shows a yurt inside which there are ten people. In the middle of the yurt, to the accompaniment of dombra and sybyz (like the Bashkir kurai), a man is supposedly dancing at a fast pace, which does not suggest any resemblance to Kara Zhorғ, more reminiscent of Nogai or Bashkir dances, “Polovtsian dances”, in general, movements inherent in Western-style dances Kipchak peoples. Characteristically, in the background is a boy in the Circassian
  Apparently the Nogay, or rather, Kazakh Nogai origin, possibly from the genus Noғai-
Cossack. Kazakhs ("Kyrgyz") - the only people depicted dancing in this work. In general, this is a clear confirmation of the existence of another type of folk dance among Western Kazakhs.
  Kazakh dances were performed to the music of dombra, less often kobyz, which was sometimes helped by percussion and wind instruments. The prominent ethnographer Uzbekali Zhanibekov noted that Kazakh men sometimes danced right in the saddle. He divided both male and female dances into several categories: those related to war and hunting, domestic, ritual-ritual and mass.
  ... The answer to the question whether Kazakh men danced or not is obvious to me. Undoubtedly, they danced, and with great enthusiasm and ingenuity.

Zhandos TEMIRGALI

Introduction
On the occurrence of Kazakh dance art
  The Kazakh people have long had a distinctive dance culture. Dance, like other types of national art, existed in the life of nomadic herders and in dance images conveyed all its features. Confirmation is preserved folk dances, among which - labor (Omeck bi - dance of weavers), hunting (koyan bi - hunting a golden eagle for a hare, kusbegi-dauylpaz - falconry hunting training), dance-competitions (bastard bi), comic, satirical, humorous (nasybayshi), dances of imitation of animals (orteke - goat-jumper, punishment of zhorga, tepenkok - dance of a horse, run of a rover, ayu bi - a bear dance). In folklore, there were lyrical theatrical dances with singing, round dances, etc. Festivities associated with the calendar of the working year were especially popular among the people. They performed dance-competitions - dancing, showing the audience the agility and endurance of the dancers, dance games, night dances around the fires. Wedding ceremonies, which lasted for several days, resulted in a bright theatrical performance, permeated with pantomimic action, comic dances. There were religious dances, which were performed only by shamans as a means of treating the sick and served to "expel the evil spirit." In contrast to the Uzbeks, Tajiks and other eastern peoples of the Muslim faith, the Kazakhs had pair dances performed by a young man and a girl - koyan-golden eagle (“Koyan-Burkit”).

The art of dance was passed down from generation to generation, each tribe had its own masters. Kazakh folk dances did not have a canonized form. More often they were performed in the form of improvisation. In dance competitions, an emotional, cheerful character was combined with choreographic scenes.

The vast steppe raised the hardworking Kazakh people, and also gave them a daring temperament, like wild horses and courageous golden eagles. Kazakhs spend their whole lives with songs and dancing. A few dombra and sybyzgy are enough for them to dance tirelessly. The dances of the Kazakhs clearly demonstrate the identity of the nomads, the wealth of their inner world. Dances that express the rich aroma of their culture are inherent in speed, lightness, cheerfulness, strength and hardness. Touching melodies and charming dance poses are so captivating that you seem to be in the dance yourself. In dances, such techniques as “shoulder movement”, “equestrian step” and other highly rhythmic movements that display a bold dance distance are often used.

Kazakhs have weddings, holidays, meetings of friends, banquets, and even the funeral of relatives can not do without songs and dances. After the death of their relatives, they sing 40 days funeral songs, remembering the life of the deceased. In a word, songs and dances accompany the whole life of the Kazakh. Work

Composes the main theme of dancing. Let us recall such famous dances as: “Milkmaid”, “Haircut”, “Nightmare riding”, etc. There are fast, funny dances, there are funny humorous dances, as well as there are dances expressing their spiritual ideals. Kazakhs are wonderful masters of dance expression of their spiritual world. Their dances are simple and there are no difficult movements in them. Most dances imitate the working life or movements of steppe animals. And as soon as the dance begins, a jubilant and powerful impulse is immediately felt. In these dances one can feel the deep breath of the steppe. The dance "The Black Pacer" vividly and amiably depicts a gallant appearance, racing across a vast steppe, a wild horse. Golden eagle - a bird revered by Kazakhs - became a hero in the Kazakh folk dance "Golden Eagle". The dancer, arms outstretched, imitates the free soaring of a golden eagle in azure skies over the boundless expanses of the steppe. There is also the “Bear” dance, etc.

Kazakh dances are divided into ordinary and masquerade, dancing alone, together or group dances. There are cheerful, lively, humorous dances having a strong funny character. Among them, such dances as “The Lame Duck”, “The Walking Bear”, “The Lame Bear”, “The Bear-Brawler”, etc. are especially different. As soon as someone starts dancing at the festival, all those present join him, not leaving him alone.

Schools of dance training (as it was in India, Japan, China and other countries of the East) did not exist. The art of dancers has been handed down from generation to generation. In a patriarchal-feudal society, each clan had its own professional masters. They were in the position of court jesters or among the folk fun-comedians “ku”. Kazakhs did not have canonical forms of folk dancing. Improvisation is an indispensable condition of dance folklore. The most characteristic features of the dance are expressiveness of performance, sharpness of movements, mobility of the shoulders, “play” of the joints, tension and composure of the body, flexibility that allows the dancer to include complex acrobatic techniques. A combination of the vivid emotional nature of the dance with a variety of choreographic patterns is also typical, which was especially evident in dance dances (Utys bi, Sylkyma). The most specific were the dances on horseback, but it was not horseback riding. Every Kazakh was able to juggle, while dancing, standing in the saddle - only professional dancers, in whom the horse obeyed the rhythm. The dance was performed to the accompaniment of a dombra (or drum). The energetic and clear rhythm of bi kuyev (dance melodies) served as the basis for streamlining the rhythm and pace of the dance. Prejudice hindered the development of dance culture. the art of the dancers did not receive such a distribution as musical creativity. In the period of feudalism, dancing for the amusement of the people was considered a "despicable occupation", the inheritance of the poor. The collapse of the patriarchal tribal system, changes in the economic and social life of the people were accompanied by a natural obsolescence of the old

Customs and traditions, the ancient forms of folk dances degraded and by the end of the 19th century almost completely disappeared from folk life.

In a socialist society, with the development of material and spiritual culture, the creation of a professional theater (30s), the development of national dance art began. Ancient Kazakh dances, perceived by professional dancers, enriched with new expressive means and content, from the stage of a professional theater passed into amateur folk groups. Dances such as Aizhan Kyz, Kiyiz Basu, Tepenok, Mausymzhan, Saunshi Zhengei, Beskyz, Kelinchek, Mergen, Kokpar, etc., have become the most popular dances in folk entertainment.

In 1939, the first folk dance ensemble was created at the Kazakh Philharmonic Society (artistic director - Honored Art Worker of the Kazakh SSR A. Ismailov). A significant contribution to the development of folk dance art was made by the concert activity of the national artist of the Kazakh SSR Shara Zhienkulova (head of the Song and Dance Ensemble of the world), Honored Artist of the Kazakh SSR N. Tapalova (head of the Song and Dance Ensemble). In 1955, the Song and Dance Ensemble of the Kazakh SSR was created. In his repertoire, ancient Kazakh dances; the ensemble is also doing a lot of work to create modern folk dance. Currently, Kazakh dances have received a new development, but their cheerful, easy, and mass style is not changing. Traditional dances can continuously develop only when they do not break away from the masses.

S. Zhienkulova writes: “Not so long ago, harmonies and dombras sounded more often in villages and in cities. Now life has become faster, she has a different - speed - pace. And yet, think about those ingenuous words, those amazing images, which are filled with folk songs, music, dances. What wonderful colors lurk in every phrase, what juiciness, sonority mother tongue! ”In modern times, the stability of society, the development of the economy contributed to the rapid development of Kazakh dances. Famous dances of the new time are: “Embroidery of a colored carpet”, “Merry steppe”, “Rich Altai”, “Cowgirl girl”, “On the way of moving”, etc. The content of them is much new and perfect compared to the old one, which makes people immediately feel this novelty. The Kazakh people are truly worthy of the title of great masters of song and dance.

“For us, professionals working in the field of choreography, the folk dance is inexhaustible,” notes S. Zhienkulova in her book “Dancing Friends”. Folk dance, in essence, is deeply international. It combines the most beloved forms of art by all nations - dance, music, game, applied art, embodied in bright national costumes that complement and emphasize the uniqueness of its style and character. Accessible and understandable to everyone, close to people of various beliefs, views, temperaments, such a dance brings not only aesthetic pleasure, but also the ability to unite everyone.

Features and appearance of the costume.

Kazakh folk costume is a unique manifestation of the material culture of the past, created under the influence of living conditions in the steppes with their sultry summers, with piercing winds, frosts in winter, large differences in daytime temperatures. It reflected the aesthetic ideals of the people, their lifestyle, social equivalents. It is distinguished by a pronounced originality, and played a role in preserving and strengthening the ethnic identity of the people, along with colloquial speech, anthropological indicators served as a persistent determinant by which they distinguished their own from strangers. It is characterized by a commonality of forms for all segments of the population with a certain age regulation.

It is simple in composition, expedient, convenient for riding, since it was impossible to do without a horse in the past, it is adapted to protect the body from the cold, heat, sultry winds, it is distinguished by elegance due to its fur trim, embroidery, inlay, and the wide use of all kinds of jewelry. It should be borne in mind that the latter could have arisen not only because of the desire for beauty, because in the steppe conditions, people who always roam with herds, with their whole family, house belongings in search of pastures, did not have much time to engage embellishment. The enrichment of clothes with gold stripes with Lurex, embroidery, in all probability, arose later, so that they could determine the position of a person in society, his belonging to a certain social group of the steppe population. It could live in the future due to deep-rooted traditions, developing and perfecting itself in accordance with aesthetic ideals and people's ideas about beauty and harmony.

Almost all elements of the Kazakh folk costume are the same everywhere, in all regions of the republic, there is not much difference in tailoring, choice of material, purpose of individual items of clothing. Some of the differences that exist in headdresses, belts, jewelry, in individual specific styles of everyday and festive clothes, are obviously associated with the general historical process of the formation of individual groups of the Kazakh people. And they are explained by the fact that in some regions more archaic forms of traditional clothing could be preserved for a little while, while in others they were already replaced with new ones. The swinging nature of outerwear, wrap it on the left side, fitted, the presence of hats decorated with feathers, the enrichment of women's dresses with frills make the Kazakh folk costume peculiar. It reflects those ethnic components, of which

The Kazakh people have developed, the level of their productive forces in the past, the nature of the steppe population’s occupations, the harsh climatic conditions of the open spaces of Sary-Arka, the Kazakh small hills, and, finally, historical traditions and elements borrowed from neighbors.

For example, the headdresses of Ayyrkalpak, Murak, and Saukele resemble the pointed hats of ancient Saks - the ancestors of the Kazakhs. The Zhaulyk feminine headgear, made up of a square of white cotton or silk fabric, is most likely inherited from the ancient Türks, as evidenced by images on the stone sculptures of that era, and the Beldetsha type of swing skirt dates back, perhaps, to the time of the Huns. The style of washing on the left side, the location of the colored stitching and embroidery on the edges of the cutout of the face bag, the fringing of the dressing gown with stripes with lurex, the hem, gates and sleeves of the camisole with galunas, supposedly to “protect” from unknown and imaginary forces, decorating children’s and girls’s hats, and in some cases of wandering singers with the feathers of an owl, which was considered a sacred bird, as a talisman from evil eyes, diseases, they go to the Turkic-Kypchak ethnic layer.

And wearing the tone - sheepskin coat, harem pants with wedge inserts made of sheepskin painted in natural colors, high heeled saptam boots with felt stocking baipak is connected with the nature of Kazakh occupations in the past - mobile cattle breeding, as well as with climatic conditions. In the cuts of men's beshmet with an interception at the waist, a female flared dress of kulish cats, a female wide dress of jazz cats - with thick frills on a yoke and a turn-down collar, it is not difficult to notice the influence of Russian, Tatar Central Asian clothing, i.e., Kazakh neighbors.

The traditional materials for the Kazakh folk costume have always been leather, fur, thin felt, shekpen - self-woven from camel, less often - lamb wool. For the manufacture of clothing, sheepskin, goat, foal, saiga skins were widely used, from which they usually sewed sheepskin coats, sleeveless jackets, harem pants, and outerwear embroidered with a vestibule.

Imported fabrics have been known in everyday life of the peoples of Central Asia since ancient times. So, patterned cotton and silk fabrics, chintz printed scarves were delivered from Iran; from India - kiseyu,

Later - English printed chintz and cloth, from Russia - lower grade chintz, chintz, calico, calico, muslin, red bumazeya, drap (for men's overalls and trousers), plain velvet, ribbed velveteen, brocade.

For a traditional costume beginning of the X century. the presence of the same elements in the clothes of the ordinary population and nobility was characteristic. These are shirts, women's dresses, bathrobes, hats, shoes. Social differences were expressed in the richness of fabrics and the number of clothes and jewelry put on. Festive or ceremonial clothes differed from everyday quality of fabric and decoration, completeness of the complex. The Kazakh folk costume, created over the centuries by art and talent, multiplied by the work of many craftsmen, was accented not only with expensive fur trim, embroidery or patterned textile, lurex stripes, but also belts decorated with gold and silver plaques, pendants made of precious and precious beads semiprecious stones attached to the women's clothing set.

Among the Kazakhs, the custom of giving bathrobes was widespread. Hence the wealth of their ornamentation, which often played the role of a talisman. In clothes, social differences were manifested in the material, workmanship, decoration. Rich Kazakhs, in order to emphasize their superiority, wore several chapan at once in any weather. Below - simpler, above - expensive.

The costume of the Kazakh woman was divided by age categories. The kit of a girl's costume included objects of the same type.

A lung with two or three frills, detachable below the waist by 5-6 cm, a tight-fitting dress - cassettes, worn on the lower shirt - ishkoylek. The skirt of the dress was sewn with a wide shuttlecock, hence its name - a dress with two hem hemispheres, on which two or three rows of gathered frills were sewn - and collars. In other samples of the dress, especially on Mangyshlak, in the Syr Darya steppes, instead of frills, two three folds were made.

Camisole is a light oar clothes sewn on a figure with floors expanding downwards. Depending on whether she sewed with or without sleeves, the corresponding words were added to her name. For example, a camisole without sleeves was called a women’s kemzal, with sleeves it was called a jeffy kemzal or a sholak wives kemzal (with a short sleeve). Sleeveless clothing was sometimes called a camisole, and with sleeves - beshmet. Other names are known.

Camisoles were sewn of velvet and other fabrics, on a single lining of fabric or wool. Young girls wore camisoles of brighter colors than women of middle or old age. Even poor women had holiday camisoles, decorated with embroidery, gown, coins. The buckles were metal buckles.

Ancient camisoles had a tunic-shaped cut, without a seam on the shoulders. From the armhole, triangular wedges were sewn into the side seams, greatly expanding the bottom of the product. By the middle of the XIX century. this cut gradually changed to a new one, where the shoulder was beveled, and in this regard, the design of the shelves and backs changed.

Pants. In the past, when Kazakh women rode horses, trousers were a necessary part of their clothes. They were sewn from sheepskin, homespun cloth, dense cotton fabrics. Distinguished upper trousers (shalbar) and lower (dalbar). Pants were sewn shortened, slightly below the knees, wide in step and at the waist, narrowed down. At the waist, they were strengthened with a cord, drawn into a wide hem, sewn to the belt.

Shapan - women's ancient outerwear - a straight wide robe with long sleeves. For the warm season, it was sewn light, and for the cold - with a woolen lining, quilted with the top. Ancient tunic-shaped robes had an open collar, and later - a turn-down collar.

The festive hat was sewn, as a rule, from expensive fabric, sometimes it was decorated with a braid, embroidery and stripes of fur. Elegant, richly decorated robes were preserved as ceremonial wedding clothes.

A wedding gown was an obligatory part of the bride’s dowry and was prepared in advance. It was made from expensive fabric (plisse, cloth, velvet, satin, silk), often red, less often - from black or striped Central Asian silk. This dressing gown was usually tunic-shaped with an open collar, without a collar and with long sleeves. In the south and east, the bride was thrown on his head, in other places - on his shoulders. In Semirechye by the beginning of the twentieth century. this custom has been abolished. A wedding dressing gown was put on there by a woman who was entrusted with inviting guests to a wedding. In it, she drove through the aul. Coupe - warm women's winter clothing, most often with fox fur. Fur made of fox paws was especially popular. Merlushki were also used, less often goatskins. Rich women sewed fur coats from otter fur or other valuable fur-bearing animals. For the top they took bright expensive fabric, but also satin and cotton fabrics were used. On the edges from the inside, the compartment was hemmed with a strip of fabric, and on the outside it was often bordered with fox or otter fur. Sometimes strips of velvet or gown were used to decorate it.

Headdresses of Kazakh women, like women of many nations, in addition to their direct purpose, were also a kind of indicator of their marital status. In married women, they differed in different tribal groups, but girls were distinguished by comparative uniformity throughout Kazakhstan. Girls wore hats of two types: skullcap (takya) and warm hat  with a furry edge (borik), trimmed with otter, fox, beaver fur. Borik was owned by girls from wealthy families. Such, as a rule, was decorated. A bunch of eagle owl feathers, which played the role of a talisman, was usually sewn to the top of the head. Later on, gown, tassels and silver coins were used for decoration. Rich girls had original skullcaps of bright velvet embroidered with gold. A wide blade (loop) of the same fabric, also embroidered, was sewn to their top, which covered the entire top and went down from behind.

This is an old Kasab headdress, in which, most likely, the main elements of its early prototype, the ancient Turkic (Kypchak) cap of the same name, were transformed, often replaced the saukele in the set of wedding attire, and wore it after the wedding. Kasaba was based on a round, slightly sloping shape down the back of the head. Its dimensions and height were not strictly regulated. They made it from the same material as the camisole, outlining the galunas with silver lurex. It was embroidered with gold, decorated with small round metal plates. The frontal part was decorated with pendants from hammered metal plates, beads, corals, turquoise, precious and semiprecious stones and coin-shaped circles. To the right in the temporal part of the kasaba were attached the same of five or six beads, but longer pendants, often completed with silver bells. Feathers also made the hat more elegant. The married women wore Kasaba without feathers, having thrown a scarf on top of her, often over a scarf. In accordance with the style of her jewelry, a necklace, earrings, bracelets, rings, pendants for braids, a filigree belt, and leather galoshes were made for a set of women's suits. Of particular note is the headdress of the Kazakh bride - Saukele, representing a high (about 70 cm) cone-shaped hat. He was an obligatory part of the dowry and prepared long before the girl entered marriageable age. Saukele was worn on the bride during the wedding ceremony, then some time after marriage a young woman wore it on holidays. Saukele determined the social position of the girl in society. The poor sewed it from cloth, satin, decorated with glass beads, beads, a gown; the rich sought to make it as luxurious as possible.

Mandatory addition to the saukel were long pendants (jaktau), attached to it from the sides, reaching the waist or below. They consisted of strands of coral, turquoise, silver, sometimes gilded plates, coins, silk brushes, etc. The number and length of the pendants depended on the property status of the girl’s parents.

The headdresses of married women were distinguished by their originality and considerable diversity, depending on the age and tribal affiliation of the woman.

With the birth of the first child, the woman put on the headdress of a married woman, which she no longer took off before old age. The details of this piece changed somewhat depending on age and region. The female headdress consisted of two parts: the lower one - a kimeshka put on the head, and the upper one - in the form of a turban wound over the lower part of the dress. Both parts of the dress were necessarily made of white fabric.

The costume of the young married woman consisted of the same set as the girls, with the exception of takiya and belbeu. At first, Takiya was replaced with a saukele, and after the wedding was over, with a jaulyk, a headdress made up of a square of white cotton fabric, or kimeshek, sulama, a chest that covered the woman's hair, back, and shoulders. Often cost and a white scarf. The married woman's camisole fastened in front at the waist and was decorated at the fastener with a large metal buckle - a capsirma.

Older women, over a loose-fitting dress, also wore a long camisole, mostly with sleeves, on a kimeshka’s head, complemented by a white scarf tied in a turban. In the cold season, they wore velvet coats covered with velvet, and the more affluent fur coat made from the skins of fur animals, which in the past was a measure of wealth.

The women's suit also included a Beldemsha - a hinged skirt made of velvet or fine cloth, which was gathered on a wide, dense belt of the same material, fastened to the left with buttons or a buckle. Beldemsha embroidered with a vestibule, less often got off with expensive fur.

Most of the jewelry of the Kazakh women was closely associated with clothes and headgear, but part of them played an independent role. The types of jewelry depended on the age, social and marital status of those who wore them. Some of them were characteristic of certain territorial groups of the population.

The Kazakhs did not sew special work clothes, they did not have a strict line in the cut of everyday and formal attire. The latter differed from the former in a more free cut, the volume of hats, and decor. It goes without saying that velvet, silk, brocade, expensive furs were sewn on it, while everyday clothes were made from simple material.

The funeral costume of a Kazakh woman was ordinary clothes, with which all jewelry was removed. At the same time, the heartbroken wife of the deceased had to loose her hair, and daughters and sisters, having removed their girls' hats, put black shawls on their shoulders.

Many items of Kazakh national clothing were decorated with ornaments. This is due to the fact that before the revolution, the Kazakh people did not develop such types of fine art as painting, graphics and sculpture. The Muslim clergy considered everything but ornamental patterning to be forbidden and sinful. Islam forbade portraying people and animals, so people could express their aesthetic ideas only in ornamentation. The nature of the ornament was always in harmony with the form of clothing or the item on which the pattern was applied, and corresponded to the material from which it was made.

The main positions and movements in the Kazakh folk dance.

Since the Kazakh dance is in the process of formation, it would be wrong to canonize some positions and movements of the hands as the only possible ones in the Kazakh

Sky choreography. This section indicates the positions and movements of the hands that are most characteristic of Kazakh dances at this stage of their development. Undoubtedly, in the future the circle of such movements will expand, mutate and enrich.

The Kazakh girl is characterized by soft, smooth movements of her hands, calm transitions from one position to another. Hand movements can be accompanied by rotation of the hands “away from you”, and sometimes “towards yourself”, and the rotation is done smoothly, wave

Figuratively.

Young men have stiffer hands, change positions more sharply. Sometimes brushes are bent and directed by the palms “away from you”. Rotational brush movements are not peculiar to male dance.

In a number of Kazakh dances, hand movements are based on beating some

Meta, genuine or imagined.

So, in a man’s dance, a bow, a whip can be played, in a woman’s dance - a braid, bracelets, sleeves, etc.

In the Kazakh folk dance, hands play an extremely important role. They perform, in addition to the technical, and plastic function. Hands in the Kazakh dance, especially the female one, not only decorate it, but also reveal the content, sometimes they “lead” the dance. Therefore, special attention is paid to the development of their plasticity and flexibility.

There are six hand positions in Kazakh dance:

Source position
.

Both hands are freely down on their sides. In girls, the fingers are rounded, in young

Neck fingers straight.

1st position 2nd position 3rd position
1st position.

"Salem"(bow). Hands with rounded elbows pointing forward, raise in front of the body, palms facing the viewer. Both arms are raised forward, elbows are rounded, hands are slightly raised, fingers are directed forward.

2nd position.

“Kus-ropes” (bird wings ) Raise your hands to the sides, holding them freely at the elbows, direct the hands with the palms down, fingers open. Both hands are raised to the sides, free at the elbows, the hands are directed palms down, fingers to the sides. In girls, the fingers are rounded, in boys straight.

3rd position.

« Cos muiis"(Horns). Raise hands with rounded elbows up, for girls: palms up, fingers to one another. In young men, the hands are clenched in a fist and directed from the side of the palms forward; the performer, as it were, holds a nut, bow, rifle, etc.

4th position.

Sauleke(girl’s headgear). Move one hand to the 3rd position, the other hand, bend at the elbow, hold in front of the body. Direct the brush with the back towards you, palms up from you.

5th position.

"Sanyr Muiih "Take one hand to the side, raise the other in the 2nd position with the palm toward you, the palm of the outstretched hand is stretched down.

6th position.

Belbeu (sash ). Movement for men - arms rounded at the elbows are on the waist, fingers grab the belbeu (sash).

Or: the left hand lies sideways at the waist, clutching the sash with your fingers. The right hand can be in the 2nd, in the 3rd position. In the 3rd position, the brush is held in a fist and, as it were, holds a nut, bow, etc. The body is either straight or slightly turned with the left shoulder forward.

6th position (second view).

"Cams"(whip). raise your hand to the 1st position, i.e. forward, the other - in the 3rd position, i.e. raise up, fingers clenched into a fist.
Hand position.

1st position 2nd position 3rd position
1st position (female and male).

One arm is raised up to the 3rd position and slightly laid aside, the other is raised to the side in the 2nd position.

In girls, the elbows are rounded, the hands are raised, the palms are “away from you”, the fingers are rounded.

When the left hand rises to the 2nd position, the body slightly turns with the left shoulder forward.

In young men, the elbows are straight, hands are raised, palms are directed "away from you", connected by fingers up.

2nd position (female).

Both hands are pointing one way. The right hand is raised to the 2nd position, the elbow is bent, the hand is directed palm down, with rounded fingers to the side. The left hand, bent at the elbow, is in front of the performer’s chest, is pulled away from the body, the hand from the elbow to the hand is parallel to the floor, the hand is straight, palm to the bottom, with rounded fingers to the right. The body is slightly deflected by hand. The head is turned towards the outstretched arms: the performer, as it were, looks at the hand. Hands may change directions.

3rd position

The right hand is in the 3rd position, the elbow is rounded and directed to the right, the hand is bent, the palm is directed up, the fingers are rounded to the left. The left hand, bent at the elbow, is located in front of the performer’s chest, is pulled away from the body, the hand from the elbow to the hand is parallel to the floor, the hand is directed with the back side “toward you”, with the palm “away from you”, fingers are rounded. The body is slightly inclined to the left side and is directed with the left shoulder forward. The head is turned to the left shoulder. Hands may change directions.

4th position 5th position

4th position (male).

The left hand lies sideways at the waist, clutching the sash with fingers. The right hand can be in the starting position, in the 2nd, in the 3rd position. In the 3rd position, the brush is held in a fist and, as it were, holds a nut, bow, etc. The body is either straight or slightly turned with the left shoulder forward.

5th position (male).

The right hand can be in the 2nd, in the 3rd position. In the 3rd position, the brush is held in a fist and, as it were, holds a nut, bow, etc. The body is either straight or slightly turned with the left shoulder forward.

Hand movements
Traffic
  No. 1 (female). Changing the direction of the hands in position No. 1.
  The hands are in position No. 1: the right hand is raised up, the left hand is sideways, the hands are slightly raised, directed with rounded fingers up, palms “away from you”.

Hands change directions, i.e., the left hand from the 2nd position rises to the 3rd, the right from the 3rd position is transferred to the 2nd. Changing directions is made slowly: smoothly, with the hands simultaneously with the transition from position to position perform one rotational movement with their brushes “away from you” in one rotation.

The performer transfers the hands with her palms “to herself”, lowers the hands with her fingers “to herself”, then with her fingers down, unfolds the brush with her fingers “from herself” and with; raises brushes

Rotating them to their original position. The body remains straight, goals, together with the change of direction of the hands is transferred to the hand raised up.
Traffic
  No. 2. Transfer of hands from the starting position to position No. 3.
  Hands in starting position. Hands rise forward to the 1st position, hands are directed palms up. Then the hands are moved to the right, to position No. 3, that is, the right hand rises to the 3rd position, the left, bending at the elbow, approaches the body at chest level, while the hands of both hands perform a soft rotational movement “away from you” in one turn. The body leans slightly to the left side, pushing the left shoulder forward. The head moves to the left shoulder.

With the beginning of the next measure, the same movement is repeated with a change of direction: hands drop to the starting position, then rise to the 1st position and are transferred to position No. 3 to the left.
Traffic
  No. 3. Opening the arms forward, directing the palms up and down.

Hands in the 1st position of the palm are pointing down.

Both arms bending helbows, approaching the front of the body, elbows retract a hundred

The Rhone. Then the brushes perform a rotational movement “towards themselves” in one rotation, that is, the opus

They repent with their fingers down, “fingers toward themselves”, open with their fingers forward, palms up, at the same time the arms, unbending at the elbows, stretch forward.

To the next, both arms, bending at the elbows and directing them to the sides,

They huddle in front of the body, palms pointing up. Then the brushes perform a rotator

The movement is “away from you”, that is, you approach your fingers “towards you”, lower your fingers down, turn your fingers forward, palms down; at the same time, arms, unbending at the elbows, stretch forward.
Movement number 3
Traffic
  No. 4. Circular motion of the hand in the face.
  Musical Size: 2/4.

Hands are in the 2nd position. Due to the beat, the right hand rises to the 3rd position, the brush is raised, the la

Donya “away from me” with rounded fingers up, elbow rounded and directed to the right.

  “Once” - the right hand is lowered, holding the brush with the back side of the left cheek, the elbow is bent and lowered down, the brush is raised and directed upwards with the fingers, palm to the left. The left hand remains in the 2nd position.

  “I” - The right hand is held in the 1st position, while simultaneously performing a soft rotational movement with the brush “away from you”.
  The right hand is drawn from the 1st position to the 2nd, the hand is directed by the palm “away from you”. The left hand is in the same position. The right hand remains in the 2nd position. The left one rises, starting the same movement.
Movement No. 5. Rotation of the arms crossed at the wrists.
  Both hands are raised forward and crossed at the wrists, the right hand is above the left, palms pointing down.

On the “zaktak”, the arms rise from the elbow, directing the connected hands with the fingers upward, slipping in the wrists and not disconnecting, the hands turn their palms “towards themselves”, then they lower their fingers “towards themselves” and down, the bent elbows rise to the sides. On account of the “time” hands, slipping at the wrists and unbending at the elbows, are pulled forward, the hands return to their original position. The movement can be repeated several times in a row.
Traffic
  No. 6. Change of direction of hands in position No. 2.
  The hands are in position X№ 2: the right hand is raised to the right, the left, bent at the elbow, converges in front of the performer’s chest, the hands are straight, fingers are directed to the right, palms down. The head is turned to the right.

On account of the “time”, the arms, bending at the elbows, approach the body, while the hand: begin a smooth, slightly noticeable rotational movement “away from you”.

At the expense of “two” hands, changing directions, gently and smoothly transferred to the left, in the same position. The brushes, finished the rotation, are directed with the fingers to the left, palms down. Go

The fishing gear with the hands moves to the left, the look accompanies the movement of the hands.
Traffic
  No. 7 (female). The performer adjusts the bracelets.
  The girl raises one hand forward 1st position, at the level of the chest and with the palm of the other hand holds the top of the wrist of the outstretched arm, as if adjusting the bracelet, brushes on

Corrected palms down. The body is slightly inclined forward and towards the outstretched arm. The head is slightly tilted: the performer admires the bracelet.

The movement is repeated with the change of direction of the hands.

Movement number 7 Movement number 8

Traffic
  No. 8 (female). "Game with braids."

The performer, slightly turning her right shoulder forward and tilting her head to the right shoulder, runs both hands on the right braid from top to bottom: the right hand is held by the palm of the hand over the braid, the left hand is under the braid, touching its back. Hands, as if smoothing the braid, fall down to about the level of the waist. Then, the left hand brush casts the bottom of the braid onto the back of the right hand, while the left hand turns with the back “to itself”, palm “away from you”. Having abandoned the braid on the right hand, the left hand goes down between the right hand and the body,

After that, both hands are moved to the left and the movement is repeated with another scythe.
STEPS AND MOVEMENTS IN THE PLACE
Traffic
№ 1.

On the count of “times” - a step to the right with the right foot from the heel;

  “Two” - lower the right foot to the floor on the toe;

  “Three” - step with the left foot to the right, touching the toe of the right heel, raise the heel;

  "Four" - put your left foot on the heel.
Variable stroke

The performer does sha; forward from the heel to the whole foot, substitutes the other foot on the half-toes and takes the third step forward to the whole foot.

Musical size: 3/4.
  “One” - Step with the right foot forward from the heel to the whole foot, the knee is free.

  “And” - The left leg is substituted for the half-toes near the middle of the foot of the right leg; the knee is slightly bent and directed forward.

  “Two” - A small step with the right foot forward for the whole foot, the knee is free.

  “And” - Pause.

The movement continues with the left foot. Girls perform the move gently, smoothly, without jerking and stopping, the boys more sharply and swiftly. With this move, the performers can move in a straight line, in a circle, rotate right and left in place, and can also move backwards by doing all three steps of an alternating stroke at half-fingers.
  Variable stroke can be combined with simple steps. For example, on the 1st beat, the performer takes two small steps forward the entire foot (into the score - and “two”), on the 2nd beat - three steps of variable stroke.

Traffic
№ 2.

On the count of “times” - step with the right foot to the full foot to the right;

  “Two” - put the left foot to the right in the 6th position;

  “Three” - step with the left foot to the left with a hit on the floor;

  “Four” - put the right leg with a blow to the 6th position.
Lateral stroke with one leg.

The performer makes a slightly inverted side step from the heel to the entire foot, then substitutes the other leg at the back for half-fingers.

Music Size: 2/4

  “One” - A side slightly inverted step with the right foot to the right from the heel to the entire foot, the knee is free.

  “And” - The left leg is substituted on the half-toes behind the heel of the right leg, the knee is bent.

  “Two” - Repetition of movement to the “time” account.

  “I” - repetition of the movement to the “one-and-one” account.

Sideways movement, without changing legs, can move in the other direction, i.e. to the left. In this case, the performer takes the first step with his right foot in front of the left, the left foot is still substituted to the right behind on the toes.

With a lateral move, the performer can move in a straight line, from side to side rotate in place, etc. A move without understanding and settling is performed. The body is straight, or slightly inclined to the right side when moving to the right, to the left side when moving to the left.
Movement number 3.

On the count of “times” - step with the right foot from the heel to the right, raising the toe “two” - lower the foot to the full foot;

  “Three” - step with the right foot toe to the left, lift the heel up; “Four” - put the left foot next to the right in the 6th position, lower the heel of the right on the floor to the 6th position.
Combined side stroke.

The performer takes a side step with one foot and puts the other foot forward on the heel in front of the toe of the supporting leg, then goes sideways in the opposite direction and makes a turn in place.

Starting position of the legs: 3rd position, right leg in front.

Music size: 2 / 4 . The movement takes four measures.
1st beat
“Time” - Slightly inverted side step with the right foot to the right “and” - Pause.

  “Two” - The left leg is placed forward on the heel in front of the toe of the right leg, the knee is free, the toe is raised up. The body is slightly turned with the left shoulder forward, the head is turned towards the left shoulder,
  “And” - Pause.

2nd beatSideways № 2 from the left foot with the advance to the left. 3rd-4th
  so you
Lateral move number 2, the performer makes a complete turn in place to the left.

All movement from the 1st step is repeated from the other leg with advancement and rotation in the right

Howl side.
Movement number 4.

On the count of “times” - step forward with the right foot, at the same time raise the left heel, fold the case back;

  “Two” - take the right leg back and put it on the toe, at the same time lower the left heel to the floor. The body leans forward;

  “Three” - again, right foot step forward, lifting his left heel:

  “Four” - put the right foot to the left foot in the 6th position.
Weaving forward.

The performer steps forward one foot, crosses the other foot, then double-crosses

Comes in place. The entire move is performed at half-fingers.

Starting position of the legs: 6th position.

Music size 2 / 4 .

  “One” - Step with the right foot forward at half-toes, cross of the left foot, knee free,

  “And” - The performers cross over with their left foot at half-fingers in place behind the right foot, the knee is free.
  “Two” - the performer crosses with his right foot at half-fingers in place in front and crosswise of the left foot,
  “And” - Pause.

Movement continues with the other leg.

The interlocking move No. 4 is sometimes combined with the movement of hands No. 8 (“playing with braids”).

  "One" "one" "two"

Movement No. 4 Movement No. 5
Traffic
№ 5.

On the count of “times” - step with the right foot to the right with the toe inward, raise the heel;

  “Three” - move the toe of the right foot to the left, connecting them.

Crossings on the spot.

The working leg is either brought forward on the heel, then leans back to the half-toes. The supporting leg, being in one place, then separates the heel from the floor, then lowers it to the floor.

Starting position of the legs: 6th position.

Music size: 2 / 4 .

  "Time" - The right foot is brought in front and placed on the heel at the distance of the foot in front of the left foot. The heel of the left leg is separated from the floor, the knee is slightly bent.

  “And” - The heel of the left foot drops to the floor, the knee bends a little.

“Two” - The right leg is retracted and placed on the half-toes at a short distance from the heel of the left leg. The heel of the left leg is separated then the floor.

  “And” - The heel of the left foot drops to the floor.

The movement is performed with one leg - right or left, in place, or in a turn, calmly and evenly.

Traffic
  No. 6 (male). Steps with bounces.

The performer takes a step forward, raising the other leg, bent at the knee, not high in front, then jumps on the supporting leg. This movement is performed in combination with simple steps.

Starting position of the legs: 6th position.

Music size 2 / 4 .

1st beat

  “One” - Step with the right foot in front of the whole foot. The left leg, bent at the knee, rises low forward, the knee is directed in front, the lift is free.

  “And” - the Contractor makes a small jump on his right foot with forward movement, dropping down the whole foot and crouching slightly. The left leg is in the same position.

  “Two” - Step with the right foot forward, how about the “one”.

  "And" - A small jump on the left foot, as at the expense of "one-and-one."

2nd beat

  “One” - Step with the right foot forward the whole foot.

  “And” - Step left foot forward on the whole foot.

  “Two” - Step with the right foot, how about the “time” of the 2nd measure.

  “And” - Step with the left foot, as to the “one-and-a” second measure.

Movement is easy and free.
MOTIVES OF THE KAZAKHORHAMEHTA
Tumarsha (triangle)

On the count of “times” - open your arms to the sides at shoulder level, palms facing down;

  “Two” hands to turn palms up and down, fingers races

  Raise “three” hands up above the head, touching the wrists on the back, fingers open;

  "Four" to connect the palms of the left and right hands, fingers up.
"Shanyrak," (roof of the yurt)

On the count of “times” - open your arms to the sides, palms up;

  “Two” - pull your hands to yourself, bending your elbows (at shoulder level); “Three” - raise your hands with open palms up;

  "Four" - connect the middle fingers above the head, simultaneously

Turn palms down, fingers closed.
Kos orkesh (two humps)

At the expense of "time" - hands rise with a shallow vibration of the hands on

2nd position;

  “Two” - hands move to the 3rd position in the same movement;

  “Three” - put your right hand on your right shoulder;

  “Four” - put the left hand on the left shoulder, elbows are directed

And the parties.

Shi orau (weaving)

On the count of “times” - raise your hands up with your wrists crossed, palms touching, fingers pointing up;

  “Two” - lower your arms forward with crossed wrists; palms pressed to each other, right hand laid on the left; fingers straight, forward, elbows extended;

  "Three" - hands with pressed palms attracted to the body, lock

Ty divorced to the sides. The palms open from the body forward, la

Doni - up;

  "Four" - palms with crossed wrists turn from

Myself - go ahead.

Bourkeit tyrnak (claws of an eagle)

On the count of “times” - open hands to the sides, fingers open, palms down;

  “Two” - make one circular rotation with your wrists from yourself; “Three” - raising hands up, make three times rotation with brushes; "Four" - to make a flap of hands (wings).
Ozhau (cook)

At the expense of "time" - open your hands to the sides;

  “Two” - raise your right hand up, palm down;

  “Three” - hold the left hand in front of the chest to the right hand; palm put on the elbow of the right hand; turning the head right up; "Four" - turn the brush of the right hand palm up.
LAYOUT OF MOVEMENTS TO MUSIC
"Salem" (bow)

The initial position of the legs is the 1st position, hands are lowered down.

On the count of “times” - step with the right foot to the right, gently spreading hands

And the parties;

  “Two” - squatting, put the left foot to the right;

  “Three” - put your hands on the knee of your right bent leg. Right hand on the left, palms facing down;

  "Four" - head down - bow.
Ormek (loom)

The starting position is to drop down on your left knee and sit on your heel. Hands in 1st position, fingers pressed to each other while

Me doing all the movement. At the “time” count, firmly connect the fingers, turning the palms towards you, and take the right hand to the right;

  “Two” - sharply carry the palm of the right hand in front of you to the left hand;

  “Three” carry the left hand to the left, raising the elbow up, palm toward you;

  "Four" carry the left hand in front of you to the right hand;

  “Drink” turn your palms down and connect your hands with your thumbs (fingers pressed to each other);

  “Six” hold hands forward, “waves” with fingers;

  “Seven” make “waves” with fingers to and from oneself;

  "Eight" - put your palms on your chest.
Aina (mirror)

On the count of “times” - open hands to the sides, palms up;

  “Two” - bending the elbows, connect the hands in front of the face (close the face), palms facing forward to the viewer. Elbows raised to shoulder level;

  “Three” - turn your head to the right (eyes are visible), look at the audience. Hands are motionless. Coquettishly smile;

  “Four” - turn your head to the left, look at the audience. Hands are motionless. Coquettishly smile.
Takiya (skullcap)

On the count of "times" - bend your right hand in front of the chest, fingers races

Covered, middle finger pressed to the thumb (palm facing up);

  “Two” - bend the left hand in front of the chest, open the fingers; Wednesdays

Press the thumb to the thumb and lower it onto the right hand, palm of the left hand - down):

  “Three” - to raise the right hand, put the middle and large connection

Nene fingers on the crown of the head;

  “Four” - lifting the left hand, put the connected fingers on the back of the right hand.
EXAMPLE OF THE KAZAKH DANCE COMPOSITION
  This lyrical dance is performed by

Tyre girls. The music to him is the Kazakh song “Kamazhay”. Simple foot movements combined with soft, soft

Stylish movements of the hands, tilts and bends of the body help create a vivid national image. Dance with

It consists of two parts: in the first part de

Wushki admire their bracelets and jewelry; in the second - in the hands of de

Light colored handkerchiefs suddenly appear in the lintel, which they then closed

They then open their faces.

Musical size 2/4.

Props: four scarves of light silk.

Before the girls dance,

Curl in the corners: at point 2, 4, 6, 8, facing the center of the hall.
PartI. Exit

A (7 measures)

Beats 1-4: Dancing Auditions

Ut musical introduction. Beats 5-7: all “simple steps” (step 1/4 step) go towards each other (Scheme 1) and do not

Big bow.

Description of the composition
(see diagram 9)

First figure
(28
  measures)

A (14 measures)

Beats 1-4: "alternating stroke" (movement 1) are moving in a circle (scheme 2). Hands perform the following

General movements:

On the 1st step, hands are transferred to the right-down, rotating the brushes "to themselves"; on the 2nd step - the same movement with the translation of the hands left-down;

On the 3rd step - hands are transferred right-up;

On the 4th - left-up. Head of the cook

They nest in the direction of the movement of the hands, as if admiring the bracelets (Fig. 1, a, b).

Beats 5-7: in the same course, circling themselves, moving clockwise (Figure 3). Both arms are raised left-up and slightly bent at the elbows. The head is turned to the right (Fig. 2).

Beats 8–11: Perform the same as on steps 1–4.

Tacts 12-14: "alternating stroke" (movement 1) bypass each other in pairs

Ha, meeting with the right shoulder (Scheme 4).

B (14 measures)

Tacts 1-4: Girls Perform "Bo"

What are the steps with a lunge on the foot "(move

Nie 7) while continuing to admire the bracelet

Mi on hand. For the last quarter of the 4th measure, lower your hands down (Figure 5).

Tacts 5-7: Performing “Attacks”

Nie ”(motion 3), making a right turn in place. Hands up gradually

They are wrinkled to the sides - up to the 3rd position, rotating with brushes “to themselves”.

Beats 8–11: Repeat the movements of 1–4 bars.

Tacts 12-14: “alternating stroke” (movement 1) bypass each other in pairs

Ha, meeting with the left shoulder.

Second figure
(28
  measures)

A (14 measures)

Tacts 1-6: turning to the center of the circle, the girls perform a “special move” (movement 2):

On 1-2 steps, they move from the right foot to the right, remaining facing the center of the circle (Fig. 3). In the last quarter of the 2nd measure, make a half-turn to the right (i.e., become your back to the center of the circle);

On the 3-4th measures, they move from the left foot to the left, making a half-turn to the left;

On the 5th-6th measures the same as on the 1-2th measures. One beat - raise your hands through the sides in the 3rd position, rotating the brush

Mi “to oneself”, for one beat - lower their hands down, running them along the scythe to the right

Wa, as if braiding her. Repeat the movement of the hands, “braiding” the braid on the left side, etc. (Scheme 6; Fig. 4).

Tact 7: Perform Half Turn Next

Va, taking a step on the half-toes of the left foot and substituting to it on the half-finger

Tsy the right leg.

Beats 8-14: repeat the movements of 1 - 7th measures, starting from the right foot to the right (for the first time with your back to the center of the circle).

B (14 measures)

Tacts 1-4: Dancers perform “tilts and kinks of the body” (two

Genesis 6, Fig. 5).

Tacts 5-7: “Crouching” (Move

Nie 3) make a full turn for a month

Those to the right. Both hands move up and down, bending at the elbows and turning their palms down. The head is turned in the direction of movement. Beats 8–11: Repeat the movements of 1–4 bars.

Beats 12-14: “in simple steps” (1/8-step increments) advance in two circles (pattern 7). Every girl is not

Visibly takes out a light pla

The current takes with your fingertips the upper corners and lifts in front of you. Both arms are bent at the elbows.
PartII.
  Third figure
(28
  measures)

A (14 measures)

Tacts 1-4: “Transitions on

Cross ”(movement 4) two girls about

They move from the right foot to the left, the other two - from the left foot to the right (diagram 8).

Tacts 5-7: "alternating stroke" (movement 1) bypass each other in pairs (Scheme 9), taking your hands off the circuit boards

Com to the left.

Tacts 8-11: “Transitions on

Cross ”(movement 4), starting from the other leg, they come back.

Beats 12-14: “in simple steps” (1/8-step increments) are interchanged (pattern 10) and turned to face point 1.

B (14 measures)

Tacts 1-2: everyone performs “cross-wise stopping” (move

Nie 5). Hands in front of you (Figure 11).

Tacts 3-4: “Crouching” (Move

Nie 3) make a turn in place right

In. Hands are taken to the left (Fig. 6).
  Figure 2. Figure 3. Figure 4.

Fig 5. Fig 6.

Figure 7. Figure 8.
  Beats 5-6: repeat the movements of 1 - 20th beats from the left leg.

Takt 7: a complete rip-off on the toes of both legs to the right with the left foot in the 3rd open position forward.

Tacts 8-11: “alternating stroke” (movement 1) slowly move forward, joining hands with little fingers with each other. Boards Raised Two Steps

Ki upwards, covering faces, are lowered downward by two measures (diagram 12; Fig. 7).

Tacts 12-14: “Crouching” (Move

Genesis 3) perform a turn in place to the right.

Fourth figure
(28
  measures)

A (14 measures)

Tacts 1-7: Two Girls Turning

Go about half a turn to the right, and all the dancers “in alternating motion” (move

Genesis 1) rotate in a counterclockwise direction (diagram 13). Hands with

Unified by the little fingers with each other. Tacts 8-11: Two Girls Turning

Go to the floor turning left. All "re

In slow motion ”they go forward (towards point 1), raising and lowering the scarves.

Tacts 12–13: “Crouching” (Move

Genesis 3) execute a right turn in place (pattern 914). Tact 14:

one-and-one- step right foot forward

Red, bending his knees and a little opus

Kaya shawls down;

two- stretch the legs in the knees (the severity of the body on the right leg) and lift the scarves forward, straight

Barking hands at the elbows (Fig. 8).

Movement Description

Traffic
1
  (variable stroke)

Starting position: stand in the 1st straight

My position. Hands down freely.

time- step with the right foot from the heel to the whole foot forward;

and- put your left foot on the floor

Toes to the middle of the foot of the supporting leg. Both legs bend slightly at the knees; two- step the whole foot right but

Goy forward; and- a pause.

Tact 2: to perform with the left foot. Note. "Variable stroke" is possible

Perform with moving forward or backward, and also in combination with simple steps (step 1/4 or 1/8 measure).

Traffic
2
  (attached move)

Starting position: see movement 1.

and- take a small step to the right (in the II straight position), rising to the half-toes of both legs. Beat 1:

time- get down on your feet, set up

Barking the left foot to the right in I straight across

and two- repeat the movement; and- the same as on the "act". Note. The “attached step” can be performed by moving it to the right or left, as well as with a half-turn.

Traffic
3
  (crouching)

Starting position: stand in 3rd from

Covered position, right foot in front. Hands down freely.

3 and so on:

and -raise your right leg

Ko right.

times and -take a small step right

Foot howl (half fingers at the whole stupa

Nude to the right, bending both knees and bringing the left foot to the ankle of the right behind. Pull out the lift. The position of the knees is eversion;

two-and-astand on the half-toes of the left leg, lifting the straight right leg low to the right. Knee support

Noah legs stretch out.

Note.“Seizure” can be used

Fill with advancement to the right or left, and in increments crosswise - from the right hohi to the left

In, and from the left foot to the right).

Traffic
4
  (crossover)

times- step right-foot forward and left, bending both legs at the knees;

two- step left foot to the left, rising to the half-toes of both legs. Beat 2:

times- step right foot back-left, bending the legs at the knees; two- step left foot to the left, rising to the half-toes of both legs.

Note.Crossing Crosses

Grooming gently, without jerking, with advancement from the right foot to the left or from the left foot to the right.
Traffic
5
  (crossover
  from
  stop)

Starting position: see movement 3.

and- raise the right leg

Ko right.

time- take a step on the right foot

Red-left, with both legs at the knees; and- step left foot to the left, stretching

Bending your knees. Bend the right leg, bringing the foot to the ankle of the support from behind. Bend the supporting leg slightly in the knee;

two- stand on the right foot, under

Mute left npered-right and stretch

Both legs barking at the knees; and- a pause.

Tact 2: Perform the movement with the left foot.
Traffic
6
  (tilts and bends of the body)

Starting position: see movement 3.

and- raise the straight right leg a little forward, standing on a half-floor

Tsy support legs and opening arms to the sides, palms down.

times- take a step on the right foot forward, bending it at the knee (lunge). By

Eversion of the legs. The severity of core

Pusa on the right foot. Stretch the knee of the left leg;

two- tilt the case forward, lowering the hands down (Fig. 70, a).

Step 2: straighten the body, performing alternating wave-like movements

Niya hands - in front of him and up. Tact 3: bend back, opening arms to the sides, palms up. Holo

Wu turn left (Fig. 70, b). Tact 4:

one-and-two- return the housing to its original position;

and- the same as on the "act".
Traffic
7
  (side steps with a lunge on the foot)

Starting position: see movement 3. Beat 1:

time- step right foot to the right. Under

Pull both hands up and down;

and- step left foot forward-right. Hold both hands in a circle against the cha

Owl arrows and lower down;

two- step right foot to the right, sgi

Buying her in the knee (lunge). Raise your hands right-up, palms down. Turn your head to the right, look at the hands;

and- a pause.

Tact 2: execute alternate ox

Shaped hand movements. Beats 3-4: repeat the movement of 1-2 bars from the other leg.
Scheme of Kazakh dance composition
1 2
3 7

4 8
5 9
6 10
11 13
12 14

List of references:

Zhienkulova "Dancing Friends"; Alma-Ata, Mektep-98g.

Tkachenko "Folk dance".

Gusev “Methods of teaching folk dance. Etudes. "

Features and appearance of the suit ………………………………… ... 4

The main positions and movements in the Kazakh folk dance ... ... ..12

Moves and movements on the spot ………………………………………………… .18

Motives of the Kazakh ornament ………………………………………… ... 21

The alignment of movements to music .............................................................. 22

An example of the composition of the Kazakh dance ………………………………… .23

Scheme of the composition of the Kazakh dance …………………………………… 29

References …………………………………………………………… ..31
  Ministry of Culture of the Omsk region

GOUSPO "Omsk Regional College of Culture and Art"

On the topic:

Kazakh dance.
Prepared by a 1st year student

Correspondence Department of Choreography

Gr. 109. Pazilova M.K.

Teacher: Shishkova N.V.
  G. Omsk 2010

The Great Steppe gave birth and brought up hardworking Kazakh people, besides giving him a daring temperament. Dance, like other forms of national art, has long existed in the life of nomadic herders and in artistic images conveyed all its features.

If you look, the Kazakhs spend their whole lives with songs and dancing. Folk holidays, meeting friends, weddings, banquets, and even the funeral of relatives is not complete without songs and dances. They need just a few dombrand sybyzgyto dance. This is folk art., like no other, clearly demonstrates the originality of life of Kazakh nomads and the richness of their inner world.

From time immemorial, the art of dance has been handed down from generation to generation, each clan had its unsurpassed masters. However, kazakh folk dancesnever had clear choreographic rules and a canonized image. Most often, they were performed in the form of free improvisation, which allowed, through certain stylistic manners, to throw out an emotional, cheerful temperament.

Theme folk dances  it is wide and multifaceted, the preserved dance miniatures are confirmation of this, among which are labor ones (“Ormek bi” or the dance of weavers), hunting dances (“Koyan bi” - hunting with a golden eagle for a hare, “Kusbegi-daulylpaz” - training for hunting a hunting bird) as well as dances-competitions ("Utys Bi"), satirical, comic, humorous ("nasybayshi"), parodies of animals ("orteke" - arkhar-jumper, "tepenok" and "punishment jorga" - pace run and dance horse, “ayu bi” - bear dance), dancing with objects. Also in musical folklore, lyrical theatrical dances with choral singing, round dance, etc. were also common.

There were dances - competitions, designed to show the endurance and dexterity of dancers, dance games and even religious dance, performed only by shamans of the genus, as a sure means for "expelling evil spirits" and treating patients.

Dancing Kazakhs They were divided into household and masquerade, dancing alone or group dances. It should be noted that unlike the Uzbeks, Tajiks and many other eastern peoples who profess Islam, the Kazakhs had pair dances performed by a young man and a girl, such as “ koyan-golden eagle» (« Goyan Burkit»).

As such schools, teaching art of dance, as it was in India, China, Japan and other countries of the East, the Kazakhs did not exist. Canonical forms of folk dance choreography were also absent. Each clan had its own master nuggets, who were in the position of jesters or folk amusement comedians ("ku"). Sparkling improvisation and incredible charisma are indispensable conditions for the success of folk dancers.

Vibrant expressiveness of performance, mobility of shoulders, sharpness of movements, the so-called “play” of joints, flexibility, tension and body assembly, which allowed dancers to incorporate complex acrobatic techniques, were inherent in male dances.

The most specific and complex were the dances on a horse, and it was not horse riding. The art of horse riding  every Kazakh owned from childhood, and only professional dancers were able to dance while standing in the saddle, whose trained horses, as if hypnotized, obeyed a given rhythm. Such a dance was certainly performed to the accompaniment dombraor drumthat set the right pace and served as the basis for streamlining dance movements.

Kazakh women, obeying Muslim laws, rarely danced in public, but over the centuries of development musical culture  and a certain set of dance elements and pa has developed in female dance.

Unlike men's dancing, women's dances are more restrained and calm, they do not have sudden movements and frantic rhythm. The main expression of the choreographic drawing here are the eyes and hands of the dancers.

Soft, smooth gestures, calm transitions from one position to another, hand movements accompanied by rotation of the hands “away from you” or “to yourself”, performed easily and undulating, and sometimes beating objects (a mirror, a flower, a scythe) - the main attributes of the fascinating dance of the Kazakh women.

However, feudal and religious prejudices hindered development for many centuries. dance culture, and art of dance  not as widespread as musical creativity, and by the end of the 19th century it was almost lost. And only with the advent of Soviet power did this incredibly beautiful kind of folk art begin to gradually revive.

Nowadays kazakh dances received a new development, more and more people imbued with the idea of \u200b\u200bnational identity, is interested folklore  and joins the ranks of admirers of this extraordinary creativity. And today, having arrived in this hospitable country, you can see wonderful samples of this folk art, over time, did not completely lose their characteristic, cheerful, easy and mass style, fiery cheerfulness and incredible charm of the Kazakh people.