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Georgian nation, relations between a man and a woman, cold weapons. It should be mentioned that these dances
historical destiny. Over millennia dances were established, show to us not only art of performance, but also – fighting
which were performed by wide masses of people in the days spirit and bravery of home country defenders. Courageous,
of great secular or religious holidays, fairs, days dedicated agile and brisk youths compete with one another in fencing
to names and army (a form of rural holiday) or in the royal and are most liked by the women onlookers and thus
and noblemen’s palaces. Some dances are preserved deserve the right to dance with them. In this dance if the
from the pagan epoch and are of ritual character, and more participants become most furious and a threat appears for
dances were formed over times in compliance with different any youth to be wounded, a woman has the right to suspend
historical-political events. Most of dances have their own the fighting – she throws her “mandili” (headscarf) between
historical preconditions and plots. Among the ritual plays the fighters and the dance-competition stops. Such dance
of special interest is “adrekilai”, a ritual dance dedicated competitions are often met in the classical choreography as
to Kviria, God of Fertility. This dance was performed since well. As we have already mentioned above dance means
the olden times in Zemo Svaneti region of Georgia and the dance on tiptoes (toes). It was considered in the olden times
sexual moment was stressed in it with primeval simplicity that when boy dancers in dance stand on feet thumbs this
and directness: men participating in the ritual dance had an implied readiness for combat.
image of phallus cut from wood, with which they threatened The data that reached us show that existed women’s
winter, as a symbol of evil and death. The dance symbolically dance “Mdzimuri”. The dance described a dramatic moment
displayed the history of fight of spring against winter and of young men going to the war, women expecting their
the victory of manly force over the evil. Along with dance return, arrival of a herald and joy. It seems from this that
and pantomime the acrobatic tricks were also used in it. Of in one choreographic miniature character, rhythm, situation
the same type were dances “Melia-tulepia” and “Sakmisai”. of the dance changes three times and in compliance with
Women also performed ritual dances – dances dedicated this the performers were demanded mastery of features of
to pardon, to memory of the dead, “Perkhuli” dances of dance and acting.
St George’s slave women, ritual dances dedicated to the Some salacious dances were not alien for the Georgian
drowned taken out of water. It seems from the content of the choreography – amorous, romantic dance of Lazs “Kolsarma”
ritual out of what depths of the centuries it is grown. Today, and Tbilisian “Ialas Tamashoba” in Tbilisi. In “Kolsarma”
in XXI century, pardon dances and songs, performed in the moves were passionate, with especially sexual moves
front of children having heavy infectious diseases (Measles, of thighs and belly. According to the legend, “Kolsarma”
German measles, Mumps), might cause smile of many, but resembled much dance with belly, which needed special
children with these diseases, who watched and listened knowledge to perform it. “Ialas Tamashoba” was held in
to these silent, waving, gracious calm voices and moves, Tbilisi, at Shrovetide holiday, in February, the coldest month
became quiet and their high temperature usually fell. in Georgia. Despite cold on specially selected roof of the
This is a lyrical deviation. Now, we’ll cite more convincing house young men gathered – probably kintos and started
examples. Georgians have military-combat dances: passionate dance. Their moves were free, improvised,
“Khanjluri”, “Tseruli”, “Idumala”, “Khorumi”, etc. In “Khanjluri” quite salacious. A leader would run out onto the stage with
and “Tseruli” dances the dancers hold combat arms and in a stick in his hand and pretended to beat the dancers with 39
the dance rhythm amaze us with masterly use of swords and it calling “take off, take off…” and despite hard frost they