Elements
Elements
Kara Zhorga - Kazakh folk dance
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English
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- Country :
- Kazakhstan
- ICH Domain :
- Performing Arts Social practices, rituals, festive events
- Location :
- There are several styles of performance of this dance, which has its own characteristics in different regions of Kazakhstan. In East Kazakhstan Kara-Zhorga is executed in partnership. In the Caspian region Kara Zhorga is called 'Shaitan kok' (in Kazakh 'heavenly devil'). In East Kazakhstan, Kara-Zhorga is performed as a partner dance. In Caspian region, according to Kherei Khodarov, Kara-Zhorga is called Shaytankhokh. In addition, distinctive manner of performing this dance exists in Altai region, in Sary-Sum, and also Tarbagatai. Among other styles of the dance are: Karaganda style, Zhetysu style, West-Kazakhstani style, as well as Xinjiang-Uygur and Mongol styles of performing Kazakh dances.
- Year of Designation :
- 2012
Description :
Kara Zhorga (kaz. 'Kara zhorga','black horse') - is the Kazakh folk dance, when a dancer performs an experienced rider, horseman, prancing on the pacer. Dance promotes horsemanship. Initially, it was considered male kind of dance. Gradually Kara Zhorga was danced by girls too.
The Kazakh dance has reflected peculiarities of worldview and material culture of cattle-breeding nomads, embracing different aspects of labor, spiritual activity and way of life in the steppe. For the nation who poeticized everything within its environment any move could be the impetus for creating a dance element. A horseman that rode past at a gallop was compared with a darted arrow. A girl strolling slowly in the steppe was compared with a lonely grass-blade swinging in the wind, or a bird’s flight in the endless blue. The nature of Kazakh dances reflects the depth of a specific world-perception of the nation, which is spilled over into a certain style of performance and expressed in a particularly upright proud bearing of a performer, in certain positions and movements of her/his hands.
Kara-Zhorga dance reproduces a picture of a traditional horse competition called bayga. "... The Maman village gathers for a feast (‘toy’). The young joyful horsemen step out from the crowd. The young men, bending their bodies slightly forward and swinging harshly with their whips, eagerly enter the competition. The horsemen, moving in circles, lines and diagonals, outrun each other, demonstrating the agility of a leap or an intricate hop. The imitation of horserace - rhythmically sharp-cut hops from one foot, big leaps with a curved body – have interspersed with dance technique. A sharp-cut, rough and springy folk tune of Kara-Zhorga dance and the movement which coincides with the horserace rhythm, successfully merge into a single image of bold horsemen (‘dzhigits’) who have equestrianism at their finger tips." (Sarynova, 1976: 37)
“Kara-Zhorga is a dance that embodies a variety of nuances and technique. Kara Zhorga dance differs by nuances and technique of execution. It combines the 'militancy and buffoonery, softness and mobility, speed and peace' (A. Ismailov). The folk dance has various performance types: as 'a pair of zhorgas' ('qos zhorga') and 'male zhorga' ('erkek zhorga').
The Kazakh dance has reflected peculiarities of worldview and material culture of cattle-breeding nomads, embracing different aspects of labor, spiritual activity and way of life in the steppe. For the nation who poeticized everything within its environment any move could be the impetus for creating a dance element. A horseman that rode past at a gallop was compared with a darted arrow. A girl strolling slowly in the steppe was compared with a lonely grass-blade swinging in the wind, or a bird’s flight in the endless blue. The nature of Kazakh dances reflects the depth of a specific world-perception of the nation, which is spilled over into a certain style of performance and expressed in a particularly upright proud bearing of a performer, in certain positions and movements of her/his hands.
Kara-Zhorga dance reproduces a picture of a traditional horse competition called bayga. "... The Maman village gathers for a feast (‘toy’). The young joyful horsemen step out from the crowd. The young men, bending their bodies slightly forward and swinging harshly with their whips, eagerly enter the competition. The horsemen, moving in circles, lines and diagonals, outrun each other, demonstrating the agility of a leap or an intricate hop. The imitation of horserace - rhythmically sharp-cut hops from one foot, big leaps with a curved body – have interspersed with dance technique. A sharp-cut, rough and springy folk tune of Kara-Zhorga dance and the movement which coincides with the horserace rhythm, successfully merge into a single image of bold horsemen (‘dzhigits’) who have equestrianism at their finger tips." (Sarynova, 1976: 37)
“Kara-Zhorga is a dance that embodies a variety of nuances and technique. Kara Zhorga dance differs by nuances and technique of execution. It combines the 'militancy and buffoonery, softness and mobility, speed and peace' (A. Ismailov). The folk dance has various performance types: as 'a pair of zhorgas' ('qos zhorga') and 'male zhorga' ('erkek zhorga').
Meaning :
The researchers pay particular attention to the roots of Kara-Zhorga: “This dance mostly has been performed during the “shildekhana” ritual that may be indicative of the sacral origin of the dance. The time of Kara-Zhorga performance is the time of a child’s first initiation into the World, society and family. In the nomadic world this period played the most important role along with the spiritual initiation and obsequies. Kara-Zhorga performance introduced the child to the way of life of the nomad, always on a horse. The tempo of the dance sought to transmit the nomad’s main attitude towards the reality of life; it set up the principal direction of the future life of a newborn – the way forward despite obstacles, the way of optimism and mobility. Moreover Kara-Zhorga has purification and protective properties for both the child and the guests present. Having appeared as a ritual and spiritual act, Kara-Zhorga gradually started to inherit everyday life characteristics. Owing to its enormous semantic and symbolic meaning, Kara-Zhorga dance over a long period of time was very popular among the people, acquiring new distinctive properties and styles. The modern society has the greatest respect for the ancient rituals of the dance, trying to understand and transmit them to the younger generation.
Transmission method :
The knowledge and skills of this dance, described in the book by Aubakir Ismailov and Dauren Abirov "Kazakh folk dances", are taught in ballet and art schools and studios.
Today, this folk dance can be observed during the national festivities and weddings. "Kazakh Ballet World" magazine has printed a variety of publications relating to Kara-Zhorga. A significant number of amateur dance groups continue to keep the dance alive.
Communities :
Bearers of the art of dance Kara Zhorga are mostly children and young people, although in the daily life it also performed by adult men and women. Kara Zhorga is considered one of the 18 forgotten folk dances of Kazakhs.
Editorial of "Kazakh Ballet World" Magazine; Abai State Opera and Ballet Theatre; State .Kasteev Museum of Art; Zhurgenev National Academy of Art; Ethnographic Dance Group 'Altynai'.
Information source :
