A very talented people live in Karachay-Cherkessia
The culture of Karachay-Cherkessia has its own, nationally distinctive, specific, centuries-old certainty of the spiritual life of the people, recorded in peculiar traditions, values and institutions.
This is an impressively complex set of components — symbols, language, traditions, and also forms of art — musical, theatrical, and pedagogical. The folklore of Karachay-Cherkessia is a unique source of preserving the spiritual traditions and identity of the people of the republic. The works of this folklore, its content make up the very life, world perception and artistic and aesthetic views of the people.
Song forms of folklore of Karachay-Cherkessia
The most voluminous heritage of the folklore of Karachay-Cherkessia has reached us in song forms (songs, magnifications, spells, conspiracies of the forces of nature, etc.). At the same time, pagan deities were often replaced in these songs by deities and Muslim saints. For example, in the old texts, “Bismi-llahi-r-rahimani-r-ra-him” - this “In the name of God, merciful, merciful” came from the Arabic language to Karachay-Balkar magic poetry. A prominent feature of Karachai folk songs is the personification of mythological characters (pagan deities) into biblical (images of Christian saints). For example, in the rain call song “Chop, Chop,” the features of the pagan deity of thunder and lightning are embodied by the biblical Elijah the prophet (Elijah). Such features were transferred to the folklore of other peoples of the North Caucasus, which in the past passed the period of the adoption of the Christian faith.
Many of the ritual songs of the Karachai-Circassian folklore that have survived to our time, by genre features, are ritual. There is no developed system of images in them, and the rite itself and the necessity of its realization become the subject of the image. Ritual songs are appeal songs and reveal similar signs with spell songs: they are performed on behalf of the collective, much less often on behalf of one person, and the songs themselves are built primarily on exclamatory intonations.
As an example, the song-poetic rite of causing rain. It was performed by men. The main role in this matter was assigned to a person with the abilities of a magician, and they believed that his spell would reach heaven. The ceremony took place as follows: they took a horse's skull, stood in a circle, read pagan prayers in turn — conspiracies, and then threw the skull into a pool or river. According to the worldview of the pagans, after that it was necessary to rain. The words in the conspiracy were: “Chopp, Chopp, rain, rain. Elia, Elia, Lei, Lei ... ”
One of the oldest forms of verbal art in Karachay-Cherkessia is hunting poetry, since hunting was an obligatory stage in the development of folklore. The deep traditions of the institute of hunting in the history of Karachay-Cherkessia are confirmed by numerous archaeological, ethnographic, folklore and linguistic sources. In folklore, hunting was one of the most replicated themes of collective labor, because hunting played a crucial role in life as one of the main sources of food.
The folklore of Karachaevo-Cherkessia as a whole has the features introduced and transferred to the neighboring peoples: connection with the cults of the water element, personifying fertility; the similarity of the ritual-timed context; the presence of attributes (stuffed animals, dolls), personifying mythological characters; assignment of an important place to song performance, as well as the similarity of forms of singing songs.
Today folklore musical instrumental and song works cause real delight and lively interest. Each performance of amateur and professional creative teams convinces: there are talented people in Karachay-Cherkessia. Their participants are, as a rule, people of all ages: from children to the elderly. Among them are skilled craftsmen, amazing musicians, singers and dancers.
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