The Role of Folklore and Various Types of Art in the Development of
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2996
Talent Development & Excellence
Vol.12, No. 1, 2020, 2996 - 3005
The Role of Folklore and Various Types of Art in the Development of
Kazakh Dance
Kaiyr Zhanibek,1Izim Toigan, 2Bakirova Samal,3Saitova G.4
1
Senior LecturerKazakh Nationalacademy of choreography
2
Kazakh NationalAcademy of Choreography, Candidate, professor
3
Kazakh National Academy of Choreography PhD student
4
Kazakh National Academy of Choreography, Candidate, professor
Corresponding author phd doctor associate professor Zhanat Bissenbayeva
zhanat_2006@mail.ru
Abstract
From a philosophical point of view, knowledge of life, religion and language,
psychology of language and national culture are closely interconnected. Each nation’s
customs and traditions are determined by the spiritual needs of the population. Samples of the
spiritual heritage of culture, left many centuries ago, are indisputable proof of this.
Analyzing the Kazakh nomadic world, it is necessary to highlight that its peculiarity is
its proximity to the natural environment. Kazakh nomads spent their lives in the bosom of
boundless steppes, picturesque foothills and with their mother’s milk absorbed their powerful
strength and beauty. Having enough free time, they developed a tendency to philosophically-
contemplative perception of reality, creative thinking, and a poetic-romantic way of
expressing emotions and thoughts. Considering that material and spiritual culture are
interconnected and interdependent, we emphasize that there is no clear boundary between
them, since the process of their development is parallel and has many points of contact.
The article discusses the development of Kazakh folk dance in the twentieth century.
The influence of folklore on stage choreographic productions. The role of folk poetry, music,
and arts and crafts of folk artists in the development of dance culture.
Keywords: dance, music, applied art, nomads, choreographer, performer,
Introduction
The culture of Kazakhstan has incorporated all the features of the culture of previous
times, the specificity of its culture was determined primarily by the nomadic way of life,
which was reflected in housing, on forms of clothing, in ideas about the surrounding nature,
in oral folk art and art. The production of material goods and values was the basis and source
for the development of the spiritual culture of the Kazakh people. And today, the multifaceted
culture of the people has become a tradition for future generations. Folk poetry, music,
dances and artworks of the decorative and applied art of folk masters, who shape and make
up everyday life, are imbued with the originality characteristic of the artistic creativity of one
or another ethnic group. The originality of the art of each nation is determined by the socio-
economic conditions of its work and life, as well as the characteristics of the natural
conditions in which it lives. Communication between peoples and trade and economic
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relations between them cause interactions between the artistic cultures of different peoples.
However, despite these interactions, the specific features of the art of each people have
always remained and remain in force and distinguish their art from the art of other peoples.
Art, reflecting everyday life and the ideals of man, was one of the most important
factors influencing the development of democratic professional art. Outstanding masters of
all types of art have always proceeded in their work from the foundations of folk art.
Studying Kazakh folk art as a sphere of aesthetic culture of society, it is necessary to explore
the artistic and creative process as a way of national life and thinking, ensuring the
functioning of folklore; its aesthetic and cultural value, manifested in its sociocultural
functions.
When analyzing the Kazakh dance, a wide range of its content is revealed. With the
life cycle of a person, with the calendar-pastoral nomadic cycle, the power and well-being of
the steppe were associated. This way of life was embodied in the dance. From day to day, the
life of the people becomes the theme of this art, its inexhaustible source. The creativity of
Kazakh dance is the main point of national culture. Given the fact that folk art makes an
indisputable contribution to the professional development of the art scene, it is necessary to
emphasize the importance of a culture that promotes philanthropy.
This aspect is of interest to artists, composers and choreographers to study the culture
of each nation. To determine the nature of the people during the dance, the choreographer
must study the geographical population, history and basic features of social life. A
characteristic feature of each nation has left a mark on dance art.
It is worth noting that world science has opened and created the conditions for a
public study of the unique phenomena of the Kazakh culture, including dance. The cultural
heritage of the Kazakh people and all forms of art has absorbed all the best examples of
world art, thanks to many talented masters of world art, enriching our spirituality.
Ornament also belongs to such samples. Defining the concept of ornament, we can
say that this is a decorative composition built on rhythmic alternation and an organized
arrangement of similar elements. Dance traditions were associated with all forms of artistic
creation and, first of all, with the decorative and applied art of the Kazakh people.
Ornamental patterns are specifically reproduced in the continuing traditions of Kazakh dance
movements, not only in the design of the dance, in its dynamic movements, but also in
individual movements of the arms and legs, the national ornament is peculiarly reproduced.
So, for example, in the Shalkyma dance, small foot movements repeat and recreate the
Koshkar Muyiz ornament. One of the elements - the spiral - is a symbol that in various
combinations is found in the ornament, especially the Kazakh one, quite often. By meaning,
the spiral has always been associated with movement, development, and growing power. The
combination of these two principles of power and knowledge found its graphic embodiment
in the element “ram's horn”, which means sheep’s horn. In the Kazakh ornament, this element
can be called fundamental. Meeting in various variations, it acquires various shades of sound.
“Muiiz” can be called the source, the primary element of the Kazakh ornament, as other types
of ornaments were created on its basis [1]. Only the names changed, for example, " ram's
horn " - ram’s horns; " double horns" - double horns; " like a horn " - one-horned;
“Sharshygol” -; as well as ornaments designating individual parts of the body of animals,
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birds - "tort kulak" - a cross; “Shynzhara”, “synar okshe” - the only heel; "kus kanat" - bird
wings; "Kazakh Taban" - crow's feet.
Ornaments from ancient times were widely used in various types of art of the Kazakh
people. For example, a vivid reflection of the ornament appeared in dance technique. In
scientific studies about Kazakh dance, names of movements associated with ornament are
found.
One of the main sources on Kazakh folk arts and crafts can be considered a book by
S. Kasimanov “Kazakh Applied Art” (1962) - a kind of brief encyclopedia on folk art. The
researcher gives a description of all types of folk crafts from ornament to national costumes,
and also talks about the technology of their processing and manufacture. Of greatest interest
in this work is the chapter on the ornamental art of the Kazakhs, which gives a detailed
classification of ornaments and patterns on various grounds. In his work “Kazakh Folk
Applied Art” S. Kasimanov emphasizes that ornament was of great importance in decorative
art, which arose in the course of labor activity in accordance with the living conditions of the
Kazakh people. The themes of motives of the Kazakh ornament are diverse: in the
ornamental patterns there are cosmogonic, zoomorphic, floral and geometric motifs. The
educational value of the Kazakh ornament is considered in many studies, while its role in the
formation of such moral qualities of a person as a moral and aesthetic attitude to the
surrounding reality - nature and work, patriotism, respectful attitude to the culture of his
people is especially emphasized.
Figuratively perceived and such a thing as the inner world of man. This aspect also
determined the functioning of dance creativity in the early stages of social development.
For the first time from this scientific position, the genesis of Kazakh dance was
considered by O.V. Vsevolodskaya-Golushkevich is a tireless researcher of dance folklore,
the author of many works devoted to the national choreography of Kazakhs, scientifically
substantiates the process of formation of traditional dance creativity of Kazakhs, referring to
its origins, and determines the specifics of its formation and development. She first examined
from this scientific position the genesis of Kazakh dance. Based on the foregoing, let us
consider the production of the Aydabylpym dance, in which the movement of the “shynzhar”
is performed moving upward from the 2nd point of the stage diagonally to the 6th point. The
body, turning to the left from the waist, returns to its starting point without stopping. At this
time, the right leg rests on the rib of the heel, and the hands will help the body, taking turns
rising to 3 position and falling to 7 position. The movement "Shynzhar", presented in the
form of an ornament, the choreographer reflected in the book "Five Kazakh dances."
In the book “The Secret of Dance” by S. Zhienkulova, the movement “Kos
Orkesh” is performed by raising both hands up above the head in a position crossed in the
wrists, in which the fingers are open (“fan”).
D. Abirov in his work “History of Kazakh Dance” describes the male movement
“Tyshkan iz” as follows: the joined legs move diagonally backwards in a fast rhythm and in a
jump that glides along the floor.
Talking about jewelry, it is impossible to imagine Kazakh girls and women
without them. It is significant that they also found wide application in the Kazakh dance. In
the production of the dance of the famous ballet master Z. Raibaev “Sholps”, the girls who go
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on stage swaying one after the other in one row, move, holding tightly with one hand to the
previous girl, and with the other hand they depict various wave-like forms. Throughout the
dance, the dancing girls, swinging the pendants, pin these pendants on each other's hair at the
end of the dance. The dance skillfully describes the slender and beautiful appearance of the
girls, their hair flowing like silk, their graceful gait, the sound of pendants ringing like silver.
As it becomes clear from the name of the dance “Kos alka” in the production of the same
choreographer, in the dance on the stage various ornaments of earrings are described through
plastic and beautiful movements of a group of girls. Also used are types of ornaments of
earrings “Kos alka”. Earrings "Kos alka" is one of the most common Kazakh ornaments.
These ornaments, compiled by the most sophisticated selection, sometimes represent one
whole system of ornaments. Sometimes ornaments in such elements as necklaces, earrings,
precious stones in the rings depict, turning into each other, heart-shaped necklaces.
The main idea of dances directed by the choreographer E. Usin and the teacher of the
Almaty choreographic school G. Beisenova “Kos alka” to the musical work “kuy”
Dauletkerei is the desire to show the plastic movement of elegant ornaments in the jewelry of
girls and women. In these dances, it seems that the inner charm, hidden in the whole body of
girls and young women, finds its expression through the power of the dance. And if so, then
the choreographer relies in her dances on the inexhaustible core of folk art.
Discussion
In studying the evolutionary path of Kazakh dance, one cannot help but dwell on the
issues of literature, music, and art - in a word, all that is connected with the spiritual culture
of the people.
At the mention of the word “drawing”, historical monuments with cave paintings first
come to mind. Thanks to some carved rock paintings, you can see the social order of that
time, the destructive wars between the tribes, and thereby look into the depths of history and
imagine the events of that era. On the images found in the Tamgalytas and Sholaksai gorges
of the Terektisai mountain valley, animals are shown, starting with the simplest images of
animals, up to images of people's movements during any action. Researchers of the Kazakh
dance art L.P. Sarynova and D.T. Abirov showed and told these actions from images in their
works.
A prominent scientist Auelbek Konyratbaev says: “... at the very beginning is
folklore-syncretic art. It, not separating from each other, displays the integrity of folk
traditions, theater, oral folk art, the art of dance and singing”[2]. There is a lot of evidence of
the wealth of traditional Kazakh art, which substantiates the syncretic integrity of poetry and
music of the improvisational tradition of songwriters (akyns and zhyrau), performed using
national musical instruments of kobyz or dombra. Therefore, Kazakh folk music is closely
connected with poetry and oral creativity. In the musical work-cue “Akku” (“The White
Swan”) through music the way a bird flies is transmitted, and in the work “Aksak Kulan”
(“The Lame Foal”) shows the horse’s slow gait, limping foal, shot from a gun - various
episodes transmitted by music. Along with kyui works that tell about certain events with the
help of folk musical instruments like sybyzgy, kobyz or dombra, there were also works of
oral creativity that told about those events through works of folklore. Continuity is
understood as a category that characterizes the relationship of the present, past and future in
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the development of culture; all components in culture - value, knowledge, norms and customs
- to one degree or another
The Kazakh people lived differently, even in the same era. Changes in the situation of
the people: social life, music, oral folk art, applied art have always been reflected in folklore.
That is, folklore reproduced reality from the specific life positions of those who created it. In
the syncretic structure of mythological consciousness, dance was of great importance. With
the expressive capabilities of his body, man made contact with the cosmos and realized his
attitude to the world, in the dance he “breathed” the myth and manifested itself in various
dynamic forms. The dance, in essence, permeates all mythology. In the myths of various
nations, the "dancing" sun, moon, etc.
The origins of Kazakh folk art have aesthetic characteristics. In them, centuries-old
concepts of life, nature, and society were formed through music, oral folk art, and folk
applied art. Folklore works are evidence of the level of culture that has developed over the
centuries, as well as the process of knowing the environment, nature and many other things
through creativity.
Folklore, in turn, shaping upbringing and an aesthetic view of the world, occupies a
special place in the upbringing of the young generation. Under his influence, Kazakh women
absorbed in their character such qualities as gentleness and shyness, kindness, mercy and
humanity, as well as honor and courage. Kazakh girls could participate with the guys in the
games Altybakan, Ak Suyek, Kara Kulak, Aygolek. Therefore, Kazakh women, along with
men, defended their land from the enemy, ruled their country, went out without covering their
faces to the aitysa oral song contest.
Of course, the art of folklore dance does not stand still, but, while preserving folk
traditions, shaping the culture of the dance of the people, creating new spiritual wealth, is in a
constant process of development. Its canonical forms have not reached us. But its thematic
content was preserved among the people, its figurative images. It should be noted that the art
of dance has developed and improved over the centuries in conjunction with other forms of
art. The folklore theme in the repertoire of the famous dancers Usen Makan and Toygan Izim,
who worked for many years in the field of Kazakh dance art, formed the basis of their
creative activity. These two dancers, performing together, offered the attention of the
audience in the 80s of the twentieth century their creative program called "Kazakh folklore
and ethnographic dances." In this program, the Zheztyrnak dance was performed, staged by
choreographer O.V. Vsevolodskaya-Golushkevich, who talks about the transformation of a
beautiful girl into a demonic creature in the image of an old woman with copper nails. This
mythical image, generated by a nomadic way of life, was close to the understanding of the
Kazakh people.
The creative activity of professional musicians of the 19th century, as a rule, was
not limited only to the performing or composer spheres, but included the whole variety of
artistic forms - dance, poetic improvisation, oratory, virtuoso musical instrument, elements of
theatrical and circus acts, which in many ways brought Kazakh steppe artists closer to the
medieval musicians of Western Europe - jugglers, troubadours, and troubles. For example, at
fairs, viewers eagerly awaited spectacular performances with song numbers and humorous
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pantomimes. And here many poets - zhyrshy, dombra, who were fond of dancing, showed
their art. They were a real decoration of celebrations.
The art of dance in the past was perfectly mastered by many improvisers, for
example, the famous singer Berikbol Kopenov, nicknamed "Agash Ayak" (with a wooden
foot), for his ability to dance on stilts. “Having become a legend Berikbol Kopenuly (1861-
1932) was not only a wonderful singer, but also an excellent dancer, with his legs tied up
with a bakan, mounted his horse, he could dance on his back by a galloping horse, etc.
All this he performed with great skill. He was nicknamed “Agash Ayiyak” - “Wooden
Leg” for this. A native of Irtysh, he could masterfully play the dombra: he played with his
toes, and putting the dombra on his back. He could imitate the sounds of birds, animals, the
voices of people of different ages, and with amazing accuracy could convey the crying of a
baby,” O. Zhanibekov reflected in these scientific works.
Among those who contributed to the art of dance, one can add the famous folk poet,
singer and composer Shashubay Koshkarbayev (1861-1952). Having mastered the art of
playing the dombra and the cheese from early childhood, Shashubay amazed his
contemporaries with his magnificent performance of dances. People’s akyn Shashubay
Koshkarbaev jumped on a horse and performed a horse of jigit at full speed, standing on a
saddle, then jumped to the ground and danced around a horse. According to eyewitnesses, in
his performance, the unsurpassed folk dance “Or-teke” (dance of a goat-jumper) is known, in
which leg movements, plastic hands, body excesses and rich facial expressions interacted [3].
“In 1934, in Alma-Ata, at a competition of folk talents, the audience was shocked by the
Takii Movement, which consisted in the fact that he could, without touching his hands, use
the head muscles to move the skullcap on the forehead or the back of the head,” he wrote in
his research by S. Negimov. Also known among the people are Karsak Kopabaev from the
Torgai region, (O. Vsevolodskaya-Golushkevich “Baқsy oyiny” Almaty, 1996 g.), Zhunisbek
Zholdinov from the Pavlodar region (O. Zhanibekov “Uayyt kerueni” Almaty, 1992).
Thus, based on documentary facts, it becomes obvious that the Kazakh traditional
dance developed as a syncretic art form.
The famous scientist K. Zhubanov, arguing about the important role of kyui in
Kazakh music, emphasized that: “... kyui is a very rare occurrence in music and in its
uniqueness corresponds to the European symphony orchestra. In order to reach such a level,
folk music itself must be rich. It is worth noting that cui are also the main component of
dance” [4].
If music reveals the inner world of a person’s feelings, then dance allows you to feel
these feelings with the help of plastic. The role of kyu in the development of Kazakh dance is
undeniable. It is also necessary to emphasize the importance of cuys of folk composers for
dance.
Due to the widespread distribution of songs in the everyday life of the people, many
of the songs penetrated into instrumental music, influenced the structure and character of
cuyes melodies for dombra. Along with the song, the highest level of instrumental heritage is,
as mentioned above, kui performed on dombra, kobyz or sybyzgy. Also, to the
accompaniment of these instruments, folk dances were performed. Most often, dances were
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performed in the form of free improvisation, which allowed, through certain stylistic
manners, to throw out an emotional, cheerful temperament.
The most characteristic features of the Kazakh dance, performed to the
accompaniment of dombra, kobyz, are expressiveness of performance, sharpness of
movement, joint mobility, body tightness in male dances, flexibility of the waist, plastic
hands - in women.
As you know, the specific dances were on horseback, accessible only to the more
gifted dancer, horseman-rider, as well as night dances around bonfires at Altybakan - portable
swings, etc.
Kazakh dance was able to visually show the world of kyu musical space, to identify it;
show in plastic images the course of his musical time; “revive”, personify musical themes,
clearly indicate their interaction. Sometimes a vivid stage manifestation revealed to the
audience something that they had not heard or understood before in music. After such a
choreographic interpretation, the music was able to find a new sound. The kyu music for the
Kazakh dance, in addition to the natural tempo-rhythmic basis, served as a huge organizing
factor and significantly enriched the dance palette. For example, the dance staged for the
kyyu of Shalkyma by Sugir was performed by the author for many years on stage. It is worth
highlighting the amazing harmony of lyrical music and two dance beats that repeated all the
time. The plastic dance of the Ormek dance is emphasized by the four-bar leg movements in
the Dauletkerei “Zhegem Sjyer” cue, which are repeated throughout the execution of the cue.
The repeated movements of the legs of these measures, which performs the function
of a dance “key,” are called “zhilinshik”. The word "Zhilinshik" is the ankle. But in ancient
times this word had a different meaning. It meant a part of something, a syllable of a word,
and the peculiarity of these measures consisted in a more energetic movement of the legs
during the dance. Therefore, short bars, repeated in cues, in the dance are demonstrated by
short rhythmic movements of the legs.
In all folk dances there is a “key” movement, which has repetitions. If you look into
the methodology of teaching folk stage dance, the key is studied as one of the main
movements. As a result of this, the choreographer includes the movement "Zhilinshik",
relying on a professional technique and short bars found in cues. In the Kazakh dance
"Zhilinshik" ("key") is used depending on the structure of the kyu. And in Russian, Polish,
Hungarian dances it is used at the end of combinations. In order to preserve the specific
structure of cues, all the choreographers who perform Kazakh dances strive to compose one
or another composition in harmony with the movements. In this regard, in the process of
staging, the choreographers pay great attention to the musical structure, intonation-shaped
system, as well as to other specific points of the cues.
The dombra in the hands of prominent folk musicians reflected the reality of the life
of the people. The proof of the above is the plot of the kyu “Aksak Kulan” as movement and
imitation, a true reflection of the picture of sound and plastic. This kyu became the basis for
writing ballet by composer A.Serkebaev, consisting of two parts under the name "Aksak
Kulan". This legend-kyu was the main plot of classical ballet. The ballet was staged by
choreographer M. Tleubaev at the Abai Opera and Ballet Theater. There are many such
examples. If we are talking about the unity of dance and instrumental music, then we should
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recall the statement of N.F. Savichev, who in his own way interpreted the meaning of rhythm
in music and the content of cues. Admiring the talent and performing arts of Kurmangazy, he
wrote: “His outstanding talent is evident in Kurmangazy’s works.
The uniqueness of Kurmangazy is that he shifted the rhythm of the Kyrgyz (Kazakh)
dance to the dombra.” Admiring the art of Kurmangazy, he writes: “I expected something in
the form of an ordinary performance, but it turned out to be a magnificent adagio. The owner
of the house (he was my translator) agreed with my opinion and explained that in Kyrgyz
dances like Kalmyks, such movements as stretching and squeezing, dancing, for example,
convey the feeling of a lover through rhythm plastic: waiting, parting, revenge, etc. d. In
Kyrgyz dances, the rhythm of the music is repeated until the dancer transfers to another state”
[5].
It is worth considering that today these movements are used in the modern dance
“Buyn bi”. The scientist L. Sarynova (“Ballet Art of Kazakhstan” Almaty, 1976) noted in her
works that similar dances were in the 18th-19th centuries, other ethnographers and travelers
wrote about this (I. Georgi, S. Bronevsky, G. Depping). It is necessary to highlight the work
of N.F. Savicheva, reflecting the aspect of the dance included in the dombra. “But the
Kazakhs still have dances and they dance to the music of percussion instruments.”
Speaking about the movements characteristic of the Kazakh people, it is necessary to
highlight that they show the reality of each day: for example, hunters returning with prey, the
movements of the hunter are transmitted in the dance and the sound of percussion instruments
emphasizes the rhythmic pattern of the movements of the dancing hunter. Each time
repeating itself, this movement from a ritual has turned over time into a normal movement.
Later, thanks to these movements, a dance was formed, performed to the sound of percussion
instruments.
Modern dances: “besbegi-dauylpaz”, “Alkagotan”, “Akat” in the repertoire of the
state dance ensemble “Altynay” are performed to the accompaniment of folk percussion
instruments such as double, shindauyl. In the dances, the traditions and customs of the
people, awakening spirituality, the best human qualities and character traits, and the
perception of the world are clearly reflected.
It is obvious that in the world there are no such nations that do not like celebrations
and festivities. And the Kazakh people welcome such celebrations and devote a lot of time to
holding them. Various folk games that convey customs and traditions reflect the meaning and
life motive of the Kazakh people.
The importance of the game in folklore was highlighted by the Russian
ethnographer and the famous theater critic Vsevolodsky-Herngross: “In the study of folklore,
it is necessary to take into account various types of games. The game as a special kind of
human activity, which has a free, laid-back character and defines the spiritual culture of the
era, is complex and ambiguous”[6]. It should be emphasized the frequently encountered
elements of various types of games in the folk dance drawing, which are the source of
inspiration for modern choreographers. Summer games and winter games featured a special
feature. For example, summer games were held in the bosom of nature, were mobile and
energetic. Winter ones were spent more indoors, were in the form of riddles-riddles. Games
like “Kokpar”, “Sayys”, “Kures”, “Қyz уuu” were always accompanied by songs, dances,
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their sportiness, entertainment are characteristic of the game as an activity. Therefore,
through the analysis of the playful character, the dance reveals its various features. The game
activates the creative possibilities of a person, pulls him out of the usual everyday world into
a world of much greater freedom. From this it follows that the current state of dance culture is
characterized by an increase in the game factor, which mixes all existing genres, types, dance
forms, destroys the usual stereotypes, forming bizarre symbioses.
As mentioned above, the emergence of dance is associated with special conditions for
the existence of man, his psycho-physical being. Dance is both a bodily and spiritual
phenomenon. Through the body, a person is included in the reality surrounding him, interacts
with the Other and the world as a whole and expresses his inner world and emotional states.
Exploring the gesture in the Kazakh dance, it is worth emphasizing it as a sign that
can accommodate numerous verbal phrases. The gesture does not replace the word, but the
whole narrative and these gestures, created on the basis of ancient games, are known in the
productions of the dances “Sokur teke”, “Arkan tartu”, “Audaryspa,”, “Kazasha kures”, and
in the dance “Mergen” gestures such as archery, in the dance “Kylyshpan bi”, a fight with
sabers of soldiers.
It is well known that play and dance are a way of speaking in the language of plastic.
The expressiveness of the Kazakh dance language consists of two main components - the
expressive movement of the human body in space and the universal meaning of dance, as a
sign of culture. Kazakh folk dance is an open system, constantly enriched with new types of
artistic synthesis, contributing to the preservation and translation of the national spiritual
values of the Kazakh people.
The study of Kazakh traditional games in their historical dynamics revealed the
archaic game culture behind the strata of late strata, dating back to the early forms of the
traditional worldview. The traditional dance and game culture of the Kazakh people is most
clearly reflected in the ancient totemic game-dances (bear, wolf, black grouse, eagle, swan,
etc.), which are reflected, for example, in such dances as “Ak-ku”, “Orteke ”,“ Koyan-
bүrkit”.
Conclusion
It is worth highlighting the analysis of choreographic techniques used by famous
figures of Kazakh choreographic art in transforming traditional games into different forms of
stage choreography, which showed that the main methods are: using traditional ornament as
dance patterns.
There are parallel images in the art of different nations, for example, saber dance
is performed by the Pamir highlanders and there is a similar dance in Georgia. Obviously,
such dances are inherent in warlike peoples. The well-known dancer Sh.Zhienkulova noted
that many dances have survived among many peoples: “The Turkmen people have a dance
with sticks“ Balochia ”, a Pamir dance with sabers, performed alone,“ Shamshirioboz ”, the
Georgian dance contest“ Parikaoba ”[7] .
In the creative biography of the national artist of Kazakhstan Aubakir Ismailov, a
huge place is occupied by a large research material devoted to the Kazakh folk dance, the
study of which the artist has devoted many years. “When studying the history of Kazakh
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dance, it is necessary to pay attention to Kipchak dances, which in ancient times were known
to other nations. Kipchak dances were the decoration of celebrations and fairs-bazaars of the
cities of Baghdad and Damascus. Elements of the Kipchak dance are found among Balkars,
Karachais and Kumyks, ”the researcher writes. (From a conversation with A. Ismailov). The
proof of the above is the Orteke dance that has survived to our times.
Mahmoud Kashkari, who lived in the eleventh century, in the book “Divan Luhat ata-
turk”, which Europeans call the “Codex Komanikus” (translated from Latin as a dictionary of
Kumans or Kipchaks), you can find such lines “I dance, I dance, pray,” the researchers note (
D.T. Abirov “History of Kazakh dance” -57 p .; L.P. Sarynova “Ballet art of Kazakhstan” -10
p.) [8,9].
Based on the foregoing, it should be noted that the Kazakh dance originates from
the syncretic state of man and have parallels in many forms of art. Thus, the dance includes
not only a gesture as an elementary expressive unit, but also facial expressions, postures,
spatial movements, as well as combinations of these elements, which greatly increases its
expressive potential. The study allowed us to conclude that the plastic bodily image of the
Kazakh dance demonstrates the immediacy of expression and the ultimate unity with the
Kazakh customs, traditions and ritual games.
The dance language formed in antiquity was a practical means of shaping the social
life of society (dance as a ritual). Speaking about the Kazakh dance as one of the aspects of
folklore, it is necessary to highlight its thematic essence and preserved figurative
descriptions. This speaks of continuous, over the centuries, improvement of the dance. The
evolution of dance has expanded its meaning. The professionalization of dance activity
gradually adapted the dance to new functions. Having lost its ritual significance, the dance
discovered other possibilities for itself, in particular, it became part of the theatrical
performance, and later an independent art. Thus, the original musical art of Kazakhstan, the
origins of which lie in ancient times, is an integral part of the multinational culture of our
country. His successes and achievements at the present stage are the result of tremendous
cultural and social transformations in the life of the Kazakh people.
References
1. Kasimanov S. Crafts of the Kazakh people. Almaty, 1995, 240 p.
2. Konyratbaev A. History of Kazakh folklore. Almaty, 1991, 288 p.
3. Zhanibekov O. The caravan of time. Almaty, 1992, 192 p.
4. Zhubanov K. Works and memoirs. /Compiled by A.Zhubanov /. Almaty, 1990, 206 p.
5. Erzakovich A., Kaspakov Z. Historiography of Kazakh music folklore. Almaty, 1986, 112 p.
6. Vsevolodsky-Gerngross V. / Collection of materials /. Games of the peoples of the USSR. Москва-
Leningrad, 1933, 563 p.
7. Zhienkulova Sh. Symbat. Almaty, 1987, 248 p.
8. D. Abirov. History of Kazakh dance. Almaty, 1997, 160p.
9. Sarynova L. Ballet art of Kazakhstan. Almaty, 1976, 215 p.
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