People danced and dance always and in all countries. The love of expressing yourself in dance was always natural and had a national identity. Dance harmonizes a person and increases the effectiveness of his thinking.

Dances of the peoples of the North Caucasus

The names “North Caucasian” dances and “mountain” dances are a generalized concept of folk dances of the region, which are commonly perceived as fast, incendiary (mostly male) dances, with a demonstration of courage, masculinity and agility.

The peoples of the North Caucasus are strongly interconnected by cultural relations, but often also genetically. Historically, they have a commonality, because over the centuries, the interpenetration of cultures, life and life-culture of the tribes has occurred. These processes have always been reflected in folklore, including in dance culture. In choreography, the processes of interaction took place more intensively than in other genres of folk art, since the language of dance is international and there is no language barrier in it.

For many peoples of the North Caucasus, a lively circular dance is popular, but it is called differently by everyone. If Karachays call him "Stemey", then Dagestanis call him Lezginka, and Balkarians call him Tegerek Tepsu. Absolutely the same dance choreography among Kabardians and Circassians is called “Islamey”, among Adygei - “Islam”, Abkhazians like “Apsua”, Chechens and Ingush also “Lezginka”, Ossetians “Zilga Kaft”, sometimes “Tymbyl Kaft”.

Many variations of the general dance have similar features, such as: lifting up toes, throwing out hands, and the dancers - similar clothes, props and jewelry, the general is the musical accompaniment and the melody of the dance. Slow lyrical dances of the peoples of the North Caucasus also have a historically established similarity. The dances of Karachai, Kabardinians and Circassians resemble each other: “Tuz tepseus”, “Süzülup” and “Kafa”, respectively, the Adyghe “Zafak” and the Ossetian “Hong kaft”. His girlfriend and youth dance in the distance, without touching each other.

It is easy to get lost in the number of names of one more common dance, which has Balkarians and Karachais nine names: "Hychauman", "Zhortul", "Nikola", "Abezeh", "Abzek", "Marako", "Kysyr", "Zhiya" and "Dzhozoka." Its general name is "Under the handle". To nine add four more names: "Uj Pu" and "Uj Hasht" ("Under the handle" of Kabardians and Circassians), "Uj-Khurai" (dance of the Adygei) and "Simd" (as it is called by the Ossetians).

The greatest choreographic community is among the peoples who are most closely linked geographically and genetically. These are Balkars, Karachais and Adygs. Notable analogies can be defined between the dance works of the Ossetians and Ingushes, Ossetians and Balkarians, Ossetians and Karachays, Balkarians and Kabardians, Circassians and Karachays, Ossetians and Circassians, as well as Balkarians and Svan. Examples of analogies: the Balkar "Altyn Hardar" and the Ossetian "Hordar", the Balkar "Tepan" and the Ossetian "Chepana", the Balkar "Apsaty" and the Ossetian "Afsat."

Since the Balkars, Karachais and Ossetians had close contacts and mutual influence for a long time, choreographic co-creation followed the path of creative assimilation and creative processing, and not the path of mechanical borrowing.

Today, the national choreographic tradition of the North Caucasus is widely known and respected throughout the world. Since the nineteenth century, interest in the national dances of the mountaineers has not waned, and in the twentieth century it was even greatly strengthened by Soviet cinema, television, and major transnational music events. We know not only the restaurant "Lezginka", but also "Naurskaya", "Bazar", "Dance of Shamil" and "Polka Oira". In addition, the national choreographic art of the North Caucasus, namely the national dance schools, form today, with the help of the language of dance, the tolerance of people from different countries to each other, increase their interest in exploring the culture of the region.

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