879:
according to requests from either gender. It is rude to refuse on either side. The men go out one by one in this order, circle once before standing in front of the lady of their choice, pre-notified by the ladies' Hatiyaak'o, the lady greets the gentleman by rising on her toes, opening her arms in a slight angle to the sides, delicately posing her fingertips, looking modestly down, and bowing only her head. He returns the greeting by bowing his head as he raises one arm and folds it at a right angle in front of his chest. She starts, he follows, both on tiptoe, sometimes on toe knuckles, to show off his skill. A man must always keep a woman in front of him, to his left. The idea is to 'protect' her on his non-combat arm's side, while his 'fighting' arm is outside, ready to 'strike' an outsider. They complete one circle before going to the centre, where he performs tricks and movements of his choice to impress her. She may or may not return his efforts by twirling in place or clapping for him, in time to the music. Eye contact must be maintained. It is very rude for a man to turn his back to the lady, or take his eyes off her, even if she is in front of him, a custom now obsolete among the
Adyghes living with the peoples of the fundamentally male-dominant Middle East, where gender is segregated as a base culture. Younger men have been seen to turn their backs to show off to the enthusiastically clapping other men.
807:) is a formal piece with (8:4) time signature, and usually this piece is played before Challas are going to war, but nowadays it is played at the end of the Djegu involving all couples present, and usually it follows this rhythm each eight time intervals a new musical phrase is introduced, and this piece may be repeated several times since more than ten different Wuigs are available. It is said it was also used as a form of worship by circling a great tree that symbolises the forest God, Mez-i-t'ha. This 'rondel' type variant is the ancestor of the populasied dance known as
506:
796:) is a piece with (4:4) time signature, and usually this piece demonstrates the relationship between the Sh'ale (boy) and the Pshashe (girl), this relationship which is built out of love, cooperation and strength. Usually 'Qafe' is the main social dance in a 'Djegu' (a Circassian dance gathering, literally meaning 'play') and there are more than 100 qafes written by different Circassian artists, apart from the original traditional dances, and the individualised styles by each self-trained of the Circassian society.
72:
845:) means "horse behaving". The dance is a fast piece with (4:4) time signature; this particular piece is played differently by pulling the Bellows of the Pshina in and out rapidly to create an Off Beat Rhythm which produces a Rhythm two times faster than its time signature, and the word shishan is a Circassian word and it is not linked to
875:
nothing but provide a side attraction or stage audience by clapping or twirling while men perform more complex moves as display. The dance-step involves a raised bent-knee inward kick followed by a very quick shuffle for the men, whereas the women walk straight on tiptoe among
Adyghes, and follow men's active step among Daghestanis.
878:
It is a favourite social dance, frequently used at weddings and gatherings of all Adyghe communities, or communities of the North
Caucasus (Circassians), where the men and women stand in two half-moon circles in a ring, one leader for each, called the Hatiyaak'o, arranging which couple dances next
874:
Lezginka is the
Russian name given to the signature dance of Lezghi people of Daghestan. Daghestan dances, being of the mountains, are fast-paced, with sharp, angular movements both for women and men. The Adyghes have only adopted the men's dance into their version, with the women doing almost
834:) means "approach to each other". It is a piece with (4:4) time signature, and very similar to Kafa; the word "Zefauk" means (forward and backward) and it defines how it is danced by going 4 steps forward and another four backward exactly as the Kafa but with different musical taste.
867:) means "be the top". The dance is very energetic and fast, and it considered to be the fastest dance in the Caucasus. It is danced in pairs, in which the male dances fast and strong to show his skills, and the woman dances gentle but moves fast.
814:
Tlleperush is a dance which originates from the Black Sea coastal area. It is a piece with (4:4) time signature, and the word "Tleperush" means "leg kick" and usually this piece is faster than Kafa and Widj, almost equal in tempo to known
870:
Hakull'ash' means "lame man move". At the beginning it was a joke and comedy dance to make the viewers laugh, but with time it became part of the
Circassian repertoire; its leg moves look like lame moves but the dance is a fast dance.
897:
Osh'ha c'hes or Bghi'ris is the mountaineers' (Mountain-Dwellers') dance. It is a very fast dance, danced by men showing their skills. The moves are hard and strong, showing the character of the mountaineers.
882:
In
Daghestan, young men may use Lezginka as a men-only skill-contest type of dance, with a lot of energy, enthusiasm and soul fire :) Women, too, but more rarely, and as a pleasant surprise show of skill.
909:
are considered the origin of the
Circassians; their nearest descendants are the Abzax, or Abaze-yex (literally Abhaza-descending). They are very close in blood, language, culture, traditions with the
852:
Tllepech'as is a fast dance and it is an improvisation dance it is considered to be one of the ancient dance of the
Circassians, "Tlepechas" means "stick toes in the ground" the dance is based on the
709:), 2 sets of "wood blocks", each set containing about six pieces of wood held by hand; when a player strikes them together they produce a pure sound of wood to indicate the beat rhythm of the song.
1155:, in R. Kopiez, A. C. Lehmann, I. Wolther and C. Wolf (eds), Proceedings of the Fifth Triennial European Society for the Cognitive Sciences of Music Conference (ESCOM5), Hanover University of *
1131:
Jaimoukha, Amjad, Circassian
Culture and Folklore: Hospitality Traditions, Cuisine, Festivals & Music (Kabardian, Cherkess, Adigean, Shapsugh & Diaspora), Bennett and Bloom, 2010.
773:
While there is a culture of song-storytelling by travelling 'Woredi'o's or 'Song-tellers', Circassian music used most often today is closely tied to
Circassian dance. There are several
1119:
Adige Weredxemre Pshinalhexemre, Yeschane Txilh. Narodnie pesni i instrumentalnie naigrishi adigov, tom 3 , Moscow: All-Union Book Publishing House 'Soviet Composer', 1986, 1990.
1174:
Tlekhuch, A. M., 'Istoki i osobennosti razvitiya adigeiskoi muzikalnoi kulturi ', in Kultura i bit adigov , The Adigean Science and Research Institute, Maikop, issue 8, 1991.
1116:
Adige Weredxemre Pshinalhexemre, Yet’wane Txilh. Narodnie pesni i instrumentalnie naigrishi adigov, tom 2 , Moscow: All-Union Book Publishing House 'Soviet Composer', 1981.
819:" but different in style and follows this rhythm (1&2..3&4) and this rhythm is produced by Pshina and Pxachach and Pkhetaw (a wood hitting instrument for tempo).
1137:
Sokolova, A. N., 'Zhanrovaya klassifikatsiya adigskikh narodnikh pesen ', in Kultura i bit adigov , The Adigean Science and Research Institute, Maikop, issue 6, 1986.
1156:
890:", the Circassian dagger, it is a fast dance and it is a competition dance between men, and sometimes it is danced as solo. The Qame is also used in
1140:
Zhanrovaya klassifikatsiya adigskikh narodnikh pesen ', in Kultura i bit adigov , The Adigean Science and Research Institute, Maikop, issue 7, 1988.
511:
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1128:
Jaimoukha, Amjad, The Circassians: A Handbook, London: RoutledgeCurzon (Taylor & Francis); New York: Palgrave and Routledge, 2001.
1113:
Narodnie pesni i instrumentalnie naigrishi adigov, tom 1 , Moscow: All-Union Book Publishing House 'Soviet Composer', 1980. Online.
516:
1110:
Bereghwn (Baragunov), V. H. and Qardenghwsch' (Kardangushev), Z. P'. (compilers), Adige Weredxemre Pshinalhexemre, Yape Txilh.
720:'; in Adyghe it is called "Shontrip". Struck by hand or two short batons. Drummers' hands bleed when they train, or overplay.
654:
1107:
Bereghwn (Baragunov), V. H. and He’wpe, Zh., Narodnaya instrumentalnaya muzika adigov (cherkesov) , Nalchik: El'-Fa, 2005.
925:
The Adyghe Anthem was originally composed by Iskhak Shumafovich Mashbash and Umar Khatsitsovich Tkhabisimov, but after the
1125:
Beshkok, M. I. and Nagaitseva, L. G., Adigeiski narodni tanets , Maikop: Adigean Branch of the Krasnodar Book Press, 1982.
1028:
In other countries, there are composers not just of Circassian music but also for different musical genres, including:
1005:
Composers of Circassian music differ in style but all are governed by the same theory of Folkloric Circassian music.
723:
Pkhetaw, ('Wood-strike') made from wood looks like a small table and it is used for hitting it with sticks for tempo.
1165:, paper presented at North Atlantic Fiddle Convention, The Elphinstone Institute, University of Aberdeen, July 2006.
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almost all Circassians immigrated to different countries such as Jordan, Syria, Turkey and many more.
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894:. Ancient cousin of the gladius, it could have found its way to the armies of Xerxes via Alexander.
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danced by the Circassians' distant Celtic cousins after a cultural influx in the 18th century.
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Back in the Kavkas, there are many Pshinawas (player) who produce Circassian music such as:
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Sufian Zhemukhov; Charles King (Summer 2013). "Dancing the Nation in the North Caucasus".
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Qame-ch'as is the 'short-dagger' (Qame) dance. The dancer shows his skill with the "
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The Caucasian-Scottish Relations through the Prism of the Fiddle and Dance Music
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Adyghe Traditional Polyphony and Its Transformation in Modern Conditions
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Circassian music is characterized by certain instruments, including:
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which is played in a specific way to produce Circassian tunes.
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Thebisim (Tkhabisimov), W., Gwm yi Weredxer , Maikop, 1983.
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1038:– Solo Producer/Composer and Lead Accordionist for Elbrus.
1159:, 8–13 September 2003, pp 160–2. (accessed 9 June 2008).
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Beshkok, M., Adigeiski folklorni tanets , Maikop, 1990.
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refers to the traditional songs and instruments of the
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Diskografiya adigskoi narodnoi muziki , Maikop, 1998.
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have this dance too, and they call it "Apsua Koshara"
1192:, accessed 11 November 2007. Edited by E. V. Gippius.
1134:
Jaimoukha, Amjad, 'The Circassian Minstrels'. Online.
975:Hasan Qayet, Musician , Producer , Sound Engineer.
1012:Hapcha Zaodin – Lead Accordionist for Kabardinka.
1219:
1015:Hasan Sokov – Lead Accordionist for Kabardinka.
917:adopted their brothers' and neighbours' dance.
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512:Mountainous Republic of the Northern Caucasus
856:legends that used to dance on their toes.
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641:
1171:Siy Wered–Xekw: Weredxer , Maikop, 1989.
1032:Saeed Bazouqa – Solo Producer/Composer.
1018:Aslan Leiv – Well known as Aslan Dudar.
517:Circassian Union and Mutual Aid Society
1220:
1187:Welcome to circassian online library!!
932:Notable artists from Turkey include:
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1202:(Адыгэ ДжэгуакIуэ; Adige Jegwak’we)
13:
936:Şhaguj Mehmet Can, Instrumentalist
14:
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939:Thazpel Mustafa, Instrumentalist
777:that are performed differently:
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70:
987:Muhannad Nasip, Instrumentalist
945:Semih Canbolat, Instrumentalist
541:Republic of Karachay-Cherkessia
1206:tr. "The Circassian Minstrels"
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1153:Music as a Medicine for Adyghs
1082:10.5612/slavicreview.72.2.0287
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978:Orhan Bersiqu, Instrumentalist
953:Tambi Djemouk, Instrumentalist
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536:Republic of Kabardino-Balkaria
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984:Blan Jalouqa, Instrumentalist
961:Murat Kansat, Instrumentalist
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990:Yazan Stash, Instrumentalist
981:Rakan Qojas, Instrumentalist
546:Shapsugsky National District
449:Mongol invasion of Circassia
259:Destroyed or barely existing
7:
1149:(accessed 1 February 2008).
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942:Oğuz Altay, Instrumentalist
77:List of notable Circassians
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901:Apsni Apsua is the famous
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760:ШыкIэпшынэ), a Circassian
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628:Circassian Day of Mourning
1190:www.circassianlibrary.org
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768:
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969:Firas Valntine, Musician
996:Timur Shawash, Musician
764:. (Horse-tail violin.)
598:Circassian nationalism
478:Circassian slave trade
367:Languages and dialects
1228:Music of the Caucasus
1212:accessed 20 July 2008
809:The Circassian Circle
488:Circassian Revolution
338:Religion in Circassia
1024:– Solo Accordionist.
972:Ivan Bakij, Musician
892:persian martial arts
623:Circassian mythology
483:Russo-Circassian War
1208:) Amjad Jaimoukha,
993:ahmad aiy, musician
762:stringed instrument
500:Circassian genocide
355:Circassian paganism
94:Circassian diaspora
83:Circassian genocide
1233:Circassian culture
921:Circassian artists
749:), the Circassian
734:), a three string
618:Circassian cuisine
531:Republic of Adygea
1210:www.reocities.com
957:Germany include:
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561:Battle of Kanzhal
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180:(historical)
172:(historical)
164:(historical)
136:Saudi Arabia
81:
80:
60:Adyghe Xabze
31:
712:Bereban, a
701:Pkhachich (
678:Instruments
672:Circassians
554:Key battles
387:(Kabardian)
65:Circassians
34:Circassians
1222:Categories
1101:References
913:, in time
907:Abkhazians
859:Zighelet (
854:Nart sagas
821:Abkhazians
716:known as '
312:Yegeruqway
277:Cherchenay
1090:164082841
1036:Ahmad Aiy
1001:Composers
839:Kabardian
837:Sheshen (
828:Kabardian
826:Zefauk' (
790:Kabardian
780:Qaashuo (
732:Ӏапэпшынэ
696:accordion
473:Circassia
430:Maeotians
236:Kabardian
226:Chemirgoy
203:Surviving
55:Circassia
1043:See also
965:Jordan:
927:diaspora
905:dance.
865:Загатлят
817:Lezginka
707:ПхъэцӀыч
686:Pshine (
442:Medieval
381:(Adyghe)
329:Religion
307:Mamkhegh
287:Hakuchey
241:Natukhaj
231:Hatuqway
216:Besleney
161:Bulgaria
43:Адыгэхэр
22:a series
19:Part of
861:Russian
847:Chechen
832:Зэфакӏу
758:Adyghe:
741:Qamil (
581:Culture
418:Ancient
398:History
302:Makhosh
297:Khegayk
272:Chebsin
246:Shapsug
221:Bzhedug
211:Abzakhs
177:Romania
126:Germany
1088:
915:Adyghe
911:Adyghe
903:Abkhaz
801:Adyghe
799:Wygg (
786:Къашъо
782:Adyghe
775:dances
769:Dances
747:Къамыл
743:Adyghe
728:Adyghe
703:Adyghe
694:), an
688:Adyghe
466:Modern
454:Zichia
317:Zhaney
292:Khatuq
267:Ademey
169:Kosovo
116:Israel
111:Jordan
106:Turkey
25:on the
1086:S2CID
1055:Notes
843:Щэщэн
794:Къафэ
751:flute
692:Пшынэ
435:Zygii
345:Islam
282:Guaye
251:Ubykh
156:Egypt
141:Libya
121:Syria
888:Qama
736:lute
718:Dhol
714:drum
410:Show
151:Iran
146:Iraq
1078:doi
805:Удж
1224::
1084:.
1074:72
1072:.
863::
849:.
841::
830::
803::
792::
788:;
784::
745::
730::
705::
690::
674:.
1204:(
1092:.
1080::
815:"
753:.
738:.
656:e
649:t
642:v
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