By Laman Ismayilova
A book "The Evolution of Azerbaijani Dance" by Afag Huseynova has been published in Baku.
"The Evolution of Azerbaijani Dance" is a brief overview of a large time and information range from rock paintings by Gobustan to the latest Western choreographic experiments by Mark Morris in Uzeyir Hajibeyli’s "Leyli and Majnun".
Azerbaijani dance plastic, emerging from the rhythms of Gavaldash Gobustan, rituals and folklore festivals, nurtured by mugham rhythms, medieval oriental miniature, etc., perfectly merged with modern choreography. This book is for the general public to have an idea about Azerbaijan's dance art ".
The author’s next book is the fundamental work "Azerbaijan Ballet Performance: Genesis and Synthesis of Arts", which covers these processes quite deeply and comprehensively.
Notably, Afag Huseynova is a senior researcher at the Institute of Architecture and Art. She is also a chairman of the Association of Creative Women.
Azerbaijan enjoys a rich cultural heritage which includes a varied collection of folk dances. Traditional dances are among the most prominent cultural heritage of Azerbaijani people that passed through generations.
National folk dances have a very ancient history, which is evidenced by the rock carvings depicted in Gobustan. The first dances were ceremonial and hunting ones. Since the early Middle Ages various kinds of dances have started to form in Azerbaijan.
As a rule, the Azerbaijani dance is divided into the three parts: the first part is a circle, the dancer holds the body high, the second –congealing on the spot (suzme) and the third – again the circling. The third part is characterized by rhythm, and strong emotions.
Many dances, especially the old ones, are called the most beloved animals or plants. These include: "gazelle", "lale" (field poppy), "benevshe" (violet), etc.
They are divided into a very smooth and lively. The musical size of Azerbaijani dances is 6/8 and 3/4.
The dances of male and female sharply differ from each other.
Women's dances are characterized by soft lyricism and plasticity of graceful smooth movement.
Long skirt defines the tender movement of feet. The dance is focused entirely on used technique of upper parts of arm and corpse (shoulder, head, mimics of face etc).
The main feature of male dance is technique of feet. The dancer stands quickly on the tiptoe, and then quickly falls on his knee, etc.
Laman Ismayilova is AzerNews’ staff journalist, follow her on Twitter: @Lam_Ismayilova
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