Project work “Adyghe dances. Adyghe (Circassian dances) Adyghe national dances

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

Adyghe islamy - Adyghe Islamey - an original and popular smooth pair dance with lyrical content, performed at a moderately fast pace.

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

There is an ancient legend about the origin of the dance. One fine day, a young shepherd named Islam drew attention to an eagle and an eagle, which soared in the azure sky in a circle, as if admiring each other from afar, and then flocked, as if wanting to express something secret. Their flight excited the young man and stirred up hidden feelings in his heart. He remembered his beloved, and he also wanted to admire her, to tell her everything that had accumulated in his soul during the time of separation. But Islam did not succeed soon, and it was not so easy for the Circassians to meet and talk with their chosen one. However, at one of the wedding celebrations he was lucky: he was invited to dance with his girlfriend. Here, imitating the manner of eagles, he applied a new dance pattern - movement in a circle. The girl understood his intention, and the young people in the dance managed to convey to each other all their feelings. And so the dance "Islamey" was born ...

In all likelihood, Islamey originated among the Adyghes after the zafak, since both dances use some of the same dance elements. Considering that more complex choreographic techniques are used in Islam, it should be considered later.

The dance is accompanied by a special tune, which throughout the 20th century was performed on the Adyghe harmonica - pschyne. The earliest recording of the tune "Islamei" belongs to the legendary Adyghe harmonist M. Khagauj. It was made in 1911 in Armavir by English engineers, representatives of Gramophon. M. Khagaudzh played the melody of "Islamey" practically without decorations, he "tuned" the chord (triad) to the long sound (longe), he very rarely used basses on the left fingerboard. The entire tune performed by Khagaudzh consisted of one knee, which was repeated 12 times.

In the future, other performers recorded an increase in the number of knees and textural changes. For example, "Islamei" by Pago Belmekhov, recorded on a phonograph and deciphered by Grigory Kontsevich in 1931, already consists of three tribes, and only the middle one is the "Khagaudzh heritage". The beginning (the first knee) and the functional cadence (the third knee) are added to it - the beginning and end of the tune. The beginning consists of two sound complexes: a long sustained sound (the highest sound of the tune) and a descending sequence, in which there are sequential, return and descending progressive constructions in the volume of the sixth. The harmonica of P. Belmekhov was in the lead in a small ensemble with the participation of rattles and vocal overtones, so the performance was full-sounding and rich. Instead of a long sustained sound, the same Pago Belmekhov used its rehearsal repetition, which reflects the musical version of the recording proposed by G. M. Kontsevich. At the same time, it is possible that the performer used bellows to imitate rehearsal repetition (audio 02).

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

Khagaudj is characterized by end and culminating longs in the form of long durations. In the end longs, a triad can be added to the reference sound, and the culminating longs are a kind of hanging on high sounds, marking the most “temperamental” fragment of the tune. After 100 years, the end and culminating longs are performed only with a textured "colorization" - a "shimmering" third or fifth "swing". The last technique very accurately imitates the sound of a two-stringed shychepshchyn - the sounding of strings tuned in a fifth. In traditional shchepshchyn playing, the alternating sound of open strings, along with a harmonically taken fifth, is a typical beginning or end constant. Therefore, a similar use of the reference fifth in playing the harmonica is perceived by ear as an imitation of the sound of a traditional violin. The “flickering” third is also partly associated with the imitation of the shychepshchyn, but the pulsating tertian tone, which determines the modal basis of the melody, is most of all associated with the rhythmic basis of the tune and the new timbre color added to the rhythm of the pkhachich (Adyghe rattles) that accompanies the tune (audio 03, 04) .

The development of the instrumental tune "Islamey" is inextricably linked with the formation of the Adyghe accordion music as a whole. The wide distribution of the harmonica in the Adyghe environment coincided with the advent of radio, which changed the auditory musical space of ethnic culture. If earlier the “public ear” was content with the playing of local musicians, i.e., accordionists of a given village or nearby settlements, then with the advent of radio, the playing space of musicians expanded to the reach of radio air. It is likely that the most expressive elements, easily memorized and assimilated by the next generation of harmonists, were fixed through selection in the oral tradition. Almost all Soviet times, the air of Adygea included mandatory 15-minute morning music programs and programs at the request of radio listeners. There are cases when novice harmonists tried to play in unison with a performer they liked on the radio. Some learned the text from the records, achieving synchronous sound. Thus, the radio accelerated the auditory-motor processes of mastering harmonica performance and provided a wide field of various performing options and intonational complexes, characteristic of both the sublocal tradition and the entire Western Adyghe region. On the one hand, through the variation and selection of the “best” intonation complexes, the number of knees in tunes increased, and on the other hand, the content of the knees themselves changed towards greater fullness and expressiveness of sound. The harmonica introduced a new modal-harmonic basis of music, which fundamentally changed musical thinking. The latent struggle between the old and the new is read in the constantly changing constructions of the harmonica and its stabilization only in the second half of the 20th century.

The solo-bourdon (poly-voiced) traditional Adyghe song, practically not heard on the radio and rarely heard in everyday culture, still remained a sign-marker of ethnic identity and cultural self-determination of the Adyghes. Harmonic thinking did not become decisive for the Western Adyghe region. Ready basses were perceived as an alien element, the resistance to them was powerful and effective. In the classical diatonic harmonica, which was created by Madin Huade, the basses still remained phonic, their harmonic nature was overcome both by the construction itself, inconsistent harmonically with the main harmonica system, and by performing forms.

Whether or not to consider harmonica music and, more broadly, harmonica culture as traditional, or agree with the opinion of individual scientists who define the entire musical culture of the oral tradition of the twentieth century as post-folklore, i.e. folklore that exists in a different cultural space, associated with the means of mass communication, amateur and academic art interacting differently with other ethnic cultures? It is impossible not to agree with the statement of I. Zemtsovsky about the presence of five "civilizations" within any modern ethnic culture. We are talking about folklore (peasant), religious, oral-professional, written-professional (professional composer creativity of the European tradition) and mass “civilizations” of culture that exist in parallel and unevenly, have different sources, intersect and feed each other. The indicated integrity is called by the scientist “systemic stratigraphy of ethnic culture”. Analyzing the intonational complexes of the Adyghe traditional violin and harmonica tunes, we are convinced that the systemic stratigraphy of ethnic culture has horizontal (“civilizational”) and vertical (historical) connections. The latter are due to the ecological laws of culture, aimed at the preservation and conservation of ethnic-sign intonational complexes.

So, during the entire twentieth century, the Adyghe musicians-harmonists have come a long way in mastering the pschyne - the Adyghe harmonica. They learned how to make sounds simultaneously with both hands, play in different positions, change the pace of performance, speed it up to the limit. The Circassians repeatedly reworked the borrowed harmonica in such a way that it was as close as possible to the traditional sound ideal. Finished harmonica basses are not used at all or are used only as phonic paint. But the main thing is that the harmonica players have learned to reproduce the violin "block-complexes" preserved in historical memory, adapting them to the unusual scale of the harmonica right neck. As a result, at the end of the 20th century, the diatonic harmonica began to sound “in the old way”, began to convey intonations and melodic turns inherent in traditional violin music.

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

ancient art

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

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

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

Types of dances

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

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

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

"Dance battle"

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

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

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

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

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

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

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

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

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

The most characteristic features of the Adyghe national dances

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MUNICIPAL

BUDGET GENERAL EDUCATIONAL

INSTITUTION

"BASIC SCHOOL No. 27"

PROJECT ON :

"Adyghe dances"

I've done the work:

Getz Maria

Supervisor:

Teuchezh L.B., Adyghe language teacher

2017-2018 academic year

The passport ……………………………………………….

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

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

The main content of the project

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

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

FINAL …………………………………………………………..

II Collection and processing and study of information:

What is dance?

History of Adyghe dances

The name of the Adyghe dances

Conclusion………………………………………………………………..

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

Bibliography……………………………………………….

Appendix…………………………………………………………………………

Project passport

Adyghe dances

Executor

Getz Maria

Project leaders

Teuchezh Larisa Baizetovna

The academic year in which the project was developed

2016-2017 academic year

Cultivate a sense of unity and friendship.

Subject(s) to which the project

is relevant

Adyghe language

Project type

long term

Project implementation timeline

2016-2017 academic year

Project activity product

INTRODUCTION

Relevance

To introduce and interest the children in the Adyghe culture

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

Project theme: Adyghe dances

Target: Foster a sense of unity and friendship.

Project objectives:

To study the literature related to the history of the Adyghe culture;

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

Improve your creative project skills.

The main content of the project

Circassians love dances that express the soul of the people. No wedding or celebration is complete without them.

WHAT IS DANCE?

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

HISTORY OF ADIGE DANCES

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

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

NAMES OF ADIGE DANCES

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

"Udzh" is an ancient Adyghe festive dance, usually performed by young people in pairs. The plasticity and movements of this dance are natural and simple in terms of technology, which makes it possible for performers to build intricate drawings. "Uj" is ubiquitous and has numerous variants.

Dance of the Uj

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

DANCE KAFE

ENSEMBLE "ISLAMEY"

The State Ensemble of Folk Song and Dance of Adygea "Islamei" was founded in 1991. The main goal of creating the collective is the revival and preservation of the folk songs of the Circassians.

ENSEMBLE "NALMES"

The word "Nalmes" in translation from the Adyghe language means "precious stone". Created in 1936, "Nalmes" immediately took a special place among the creative teams of Adygea. Over the 75 years of the existence of the group, many old dances have been revived.

ENSEMBLE "KAFA"

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

ENSEMBLE "Highlander"

The folk ensemble of the Caucasian dance "Highlander" was formed in 1971. The title of the folk group was received in 1985 for a significant contribution to the development of the national culture of student youth in the North Caucasus. The ensemble is the clearest example of a large friendly multinational family in which everyone stands up for each other.

CONCLUSION

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

CONCLUSION

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

Bibliography:

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

Christopher Ardavasovich Balajiyan "Adygea"

Bgazinokov B. Kh. World of Culture