National identity music and choreography Crimean Tatar culture of wedding Cover Image

Національна ідентичність музично-хореографічної культури кримськотатарського весілля
National identity music and choreography Crimean Tatar culture of wedding

Author(s): Lenura Khalilova
Subject(s): Theatre, Dance, Performing Arts, Customs / Folklore, Music, Recent History (1900 till today), Islam studies, 19th Century, Identity of Collectives
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: Crimean music; choreography Tatar; wedding ceremony; Islam; culture;

Summary/Abstract: The article analyzes the specific musical and choreographic culture of Crimean Tatars. As a result of the deportation of Crimean Tatars in 1944 an opportunity to learn music culture were lost. After return of Crimean Tatars nation to their historical homeland thanks to feudal-communist elite, the ossified dogmas of Communist Party banned Tatar folk music. However, Islam as the main religion has also left its mark on the development and reconstruction of music. However, the power of music was so strong that weakened the strict prohibition in everyday life of people. It was established, there wasn’t celebration without musical accompanying, especially wedding. Music and choreography in Crimean Tatars wedding are of primary importance, the main function is the consolidation of wedding events, their coloration and emotional strengthening. Following the dynamics of the Crimean Tatar wedding can be noted that the leitmotif of "Taxim" and "Peshraf" which offer wedding music is required in addition. Welcome melody "Hosh Keldi avasy" in which musicians greeted each new guest, which joins the celebration of a young couple and motive farewell song "Ahlama, kelin, ahlama" not lost its relevance today. Tatar dance elements and dance are an integral cultural heritage of the people. The most intense dance wedding ceremonial actions is where the canonical rituals combined with individual improvisations. Clearly traced some common canons that are under performing wedding ceremonies, wedding decoration candles, painting henna bride and groom during shaving. Ethnographic and Folk music sources distinguish the most common wedding dances "Ahir ava", "Akay avasy", "Kaytarma", "Koran". Over the years the Crimean Tatar wedding dance traditions formed the characteristic behavior: definition of drama and lexical stylistic elements. The Crimean Tatar folk dance of XIX and early XX cent. is characterized through variety of musical support (instrumental, vocal, vocal and instrumental), tempo and metrorythmic diversity, parallel existence of independent dance, dance elements of the ceremonies and games, also through long tradition of behavior and relationships, existence of solo and duet improvisation, different dancing moves (girl's wedding ritual dance, dance of the shepherd etc.), well-established manner of male and female performance, basic formation of moves elements. Many mass dances are performed by men and women separately. We can outline key elements in folk dances of the Crimean Tatars which have become the national treasury of choreography. Thus, the Crimean Tatar women’s moves are characterized through lack of sharp movements, appearance of internal passionate temperament and hidden facial expressions. Apart from that, her body is slim and majestic, feet make small unnoticeable moves, hand – smooth movements. The main expression of female dance shows Crimean plastic of arms and corps. Dance of male is very graceful and more emotional. His body is also very slim, he does small, wide, swift steps. There are small moves with shoulders. The expressive means of male dance are different and facial expressions are more diverse. The most famous and popular wedding dance is the "Koran" and "Kaytarma". After the solemn event, all guests perform the Crimean Tatar folk dance "Koran". Wedding dance "Kaytarma" (in the Crimean Tatar means "return") depends on regional differences and thanks to this, dance has its stylistic features of performance. There are no wedding without improvisational solo-dance, in the coastal region it is named "Tym, tym", which originated from Feodosia. This dance doesn’t have strictly defined moves and close distance between partners. Each participant is free to improvise. During celebration each dancing pair shall present banknotes, but it doesn’t demonstrate their wealth, it is a symbol of positive energy which is transferred through money. With the groom or the bride (depending on whose party the person represent we) the youngest brother and the youngest sister open wedding celebration with dance and later other guests join them. Each of the dancers should present banknotes to brother or sister. Crimean Tatar folk music is one of the branches of multinational culture of our country. The music that reflects the thoughts and aspirations of freedom-loving Crimean Tatar people, the best features of its national character, the glorious long history, before forcibly vidtorhalasya ruling classes of people. Royal officials and clergy persecuted folk singers and musicians do all sorts of obstacles musical culture of our people. In these circumstances, not dealt with the growth of national forms and genres of music, the creation of qualified professional staff composers, artists and scientists. The texts of the Koran were pronounced, and now the muezzin uttered the entire Muslim world monotonous singsong. Islam is of great importance and positive impact on the progress of civilization of Muslim nations. Thereafter, prayerful and recitative style changed towards approaching secular music. Sheikhs, mullahs, muezzins, Koran by singing ritual prescribed five times a day, have varied tunes, introducing them existing melodic turns, painted with different intonations that increased saturated seconds. This made prayer calls "La ilyaha illyallah" and others, like, more diverse and emotionally striking. The attractive power of music is so great that religion is not a barrier for a number of calendar rites, first of all – the wedding. Based on the mentioned above, it should be underlined that the formation of the Crimean Tatar music and dance is important, and it has potential to develop. In despite of the difficult forming process of musical culture, it is important to draw attention to the dynamics of the marriage ceremony and to make an accent that the music and dancing are integral elements of the Crimean Tatar wedding.

  • Issue Year: 2015
  • Issue No: 1
  • Page Range: 82-87
  • Page Count: 6
  • Language: Ukrainian