Ни'матуЛлах

спасибо,папа привил

__________________
О человек, не теряй сегодняшний день,ибо завтра для тебя может не наступить.И не губи свою душу,продавая ее этому миру,ибо она утебя одна
СПЛЕТНИ

vinoven

Georgian Folk Dances desrciptions: Davluri, Kartuli, Jeirani, Honga, Svanuri, Narnari, Kazbeguri, Kalta Mokheuri, Parikaoba, Partsa, Adjaruli, Khorumi, Kintauri, Samaya, Kokebi, Mtiuluri, Acharuli, Khanjluri, Khevsuruli


Davluri
Davluri is an elegant city dance performed by pairs of men and women. It portrays the city aristocracy, in a dance reminiscent of the minuet of the European courts. The movements in Davluri are less complicated and the male/female relationship is less formal. The dance is performed by many couples and with the music and colorful costumes, paints a picture of an aristocratic feast on stage.


Kartuli
Kartuli is the quintessential Georgian dance. It is the one dance which has not been choreographed for the stage but is danced according to very definite rules of sequence and relation between the man and the woman. It consists of 5 sections where the man invites the woman to join him, the dance together, the solo dance of the man, the solo dance of the woman and the conclusion as they move together. The dance expresses chivalry between Georgian men and women. The man shows a most respectful attitude towards the woman. It is characterized by keeping the upper body very still. Kartuli is governed by very strict rules the man must not touch the woman, not even with his coat.


Jeirani
An oriental dance performed in the Georgian style-representing the hunt for the magic doe.


Honga
This graceful dance is based on Ossetian wedding dances. Three couples demonstrate the virtuoso styling of these dances, with men performing the traditional men's dance on the toes. The long sleeves of the men indicate the respect and restraint shown by the men towards the women.


Narnari
A dance of the women, danced at festive gatherings.


Kazbeguri
A powerful dance from the mountain region of Kasbegi. Each dancer shows his best. Kazbeguri is a dance from the Northern Mountains of Georgia, which is marked with a diverse culture and traditions. The relatively cold and rough atmosphere of the mountains is shown through the vigor and the strictness of the movements. This dance is performed by only men and portrays the toughness and endurance of the mountain people.


Kalta Mokheuri
The women in the high mountain regions dance with a much more active style than in the other regions of Georgia. With grace and vigor each dancer shows her skill.


Parikaoba
A warrior dance from the far northeastern region of Khevsureti. A girl enters, looking for her beloved. He appears only to encounter others, precipitating an energetic battle with sword and shield. When the girl throws down her headress, the men must stop according to tradition, only to renew their battle soon after.


Partsa
Dances from Adjaria, Guria and neighboring regions in south-western Georgia, along the Turkish border. Partsa is a group of dances that is a snapshot of Georgian history and spirit. Partsa is an ancient dance, popular at village festivities. It is a vibrant dance characterized by its fast pace, rhythm, festive mood, and colorfulness. Partsa brings joy into the town, village and stage. This dance creates a mood and a desire to party.


Adjaruli
Typical dances from the Adjaria region, they are done at festive occasions, and always with both men and women. The Gandagan is a couple dance which is central to the performance. The dance is striking in the contrast of the strong active movements of the men against the light undulating movements of the women. The interaction is free and open, even frivolous and flirtatious.


Khorumi
Khorumi is an ancient war dance originated in the region of Achara (southwestern region of Georgia). It has dance postures thought to date back thousands of years. Khorumi expresses the infinite strength of character of the Georgian people. Originally it was performed by men only, but over time it has changed. Khorumi traditionally has four parts. A few men who are searching the area for a campsite and enemy camps perform the initial "prelude" to the dance. Afterwards, they call the army onto the battlefield.


Acharuli
Acharuli dance has got its name from the region of Achara. Acharuli is different from the other dances by its playful mood that simple but definite movements of both men and women create on stage. The dance is characterized with graceful, soft, and playful flirtation between the males and females, the relationship between men and women in this dance is more informal and lighthearted.


Khanjluri
Georgians tend to strive for excellence. Khanjluri is dance of competition. In this dance, shepherds, dressed in red chokhas (traditional men’s wear) compete with each other in the usage of daggers and in performing difficult movements. One performer replaces another, and the courage and skill overflows on stage. Since Khanjluri involves daggers and knives, it requires tremendous skill and practice on the part of the performers.


Kintauri
A kinto in the old city of Tbilisi was a street merchant. But not just a businessman as we might think of them. He was a character such as might step out of a novel of the old world. He was creative, quick and humorous, always ready for a clever act. As a customer chose goods, the kinto took a silk shawl from his silver belt and used it as a kind of balance. In this dance there is an oriental sense of rhythm, extravagant dance steps and humorous and playful gestures. We find a delightful blend of slapstick and virtuosity in this colorful dance.


Samaya
Samaya, a dance for three women, originally considered to be from the pre-christian era, celebrates a wedding feast. The dance honors King Tamar, the woman king of Georgia's golden age in the 12th-13th Centuries. The women are thought to represent the three muses of Art, Poetry and Music as shown in an ancient fresco in a famous cathedral in Mtskheta. The choreography is both monumental and subdued. The dancers' hands silently express the ultimate fluidity found in the three faces.


Kokebi
A women's dance with water jugs (kokebi) - the women go to the stream to carry water.


Mtiuluri
Dances from the Mtiuleti Mountains. The men use very strong, sharp movements. The women too are strong and agile. With haunting melodies and pulsing rhythms, these will not be soon forgotten.


Khevsuruli
This mountain dance is one of the best representative of the Georgian spirit. It unites love, courage, and respect for women, toughness, competition, skill, beauty, and colorfulness into one amazing performance. The dance starts out with a flirting couple. Unexpectedly, another young men appears, also seeking the hand of the woman. A conflict breaks out and soon turns into a vigorous fighting between the two men and their supporters. The quarrel is stopped temporarily by the woman’s veil. Traditionally, when a woman throws her head veil between two men, all disagreements and fighting halts. However, as soon as the woman leaves the scene, the fighting continues even more vigorously. The young men from both sides attack each other with swords and shields. In some occasions, one man has to fight off three attackers. At the end, a woman (or women) comes in and stops the fighting with her veil once again. However, the final of the dance is "open" –meaning that the audience does not know the outcome of the fighting. As a characteristic of Georgian dances, Khevsuruli is also very technical and requires intense practice and utmost skill in order to perform the dance without hurting anyone.


Svanuri
The mountain region of Svaneti has its own language and is culturally separate from the other regions to the east. Common to the mountain regions the men dance with vigor, with special techniques on the toes.

Папи_йоъ

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vinoven

Great Caucasian dances.. GOD bless Georgia & Chechnya (the truest caucasians)

m&b

esli eto tanzi to ja mat tereza

Папи_йоъ

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подпись не должна превышать обычный текстовый размер.

vinoven

fraza goda)) net ne goda a veka

vinoven

http://www.gol.ge/index.php?cat=musi...893&album=9252

ansambl suxishvilebi - assa pаrty

savrimeni variant gruzinkix nacionalnix tancev

vinoven

Национальный балет Грузии стал единственным ансамблем народного танца, которому предоставили право выступить на знаменитой сцене Ла Скала в Милане. Концерт произвел фурор: занавес театра поднимался 14 раз.

В Грузинском танце отражается национальный характер, образ мышления, многовековой, тяжелейший исторический опыт народа, проживающего на рубеже Европы и Азии.

Со времени своего дебюта грузинские танцоры поражают публику всего мира своей удивительной хореографией, вихревыми вращениями, головокружительными прыжками, наполняющими сцену динамичной энергией. Мужчины танцуют с удивительной точностью, а женщины двигаются с плавной грацией ангелов. Союз бравады и грациозности делает программу абсолютно незабываемой и не похожей на другие. Вот как пишет о своих впечатлениях от концерта искусствовед Маргарет Путнэм в газете «Dallas Morning News»: «Феерия танцоров, взлетающих в воздух с калейдоскопической геометрией и военной четкостью, поражает». Национальный балет Грузии был основан Илико Сухишвили и Нино Рамишвили в 1945 году и назывался сначала Государственный ансамбль танца Грузии. Сама Нино Рамишвили танцует с 14 лет, увлекаясь как классическим балетом, так и традиционными народными танцами. Илико, ее покойный муж, которого она встретила во время работы в Тбилисском Театре оперы и балета в конце 1920 гг., был человеком, предвидящим будущее. Ему хотелось показать всему остальному Советскому Союзу, насколько уникально и богато культурное наследие маленькой Грузии. Сначала они сталкивались с организационными трудностями, но небольшая группа энтузиастов знала, что артисты на правильном пути. Нино Рамишвили и Илико Сухишвили стали неразлучными партнерами на сцене и в жизни. Их совместная жизнь была наполнена творческим созиданием, которое полностью реализовалось на сцене. Двухчасовая программа Грузинского национального балета – это непрерывный рассказ о грузинской душе, об изменениях, которые она претерпевала за последние годы. Менялась и сама программа, представленная Сухошвили и Рамишвили. Были улучшены и изменены структура, архитектоника и отдельные шаги каждого танца. Ежедневный созидательный поиск продолжается и сегодня, и мы видим как эволюция танцев идет от иллюстративного к универсальному, от конкретики к общему. Танцы, поставленные балетом в течение стольких лет, стали традиционными. Детские ансамбли, любительские труппы и другие исполнители работают по методам балета Сухишвили. Национальный балет Грузии под руководством сына Нино Рамишвили Тенгиза выступает с концертами по всему миру, поражая зрителей Европы и Северной Америки. После североамериканского турне 1998 г. они получили восторженные отзывы прессы и оставили публику в ожидании новых концертов. Национальный балет Грузии стал единственным ансамблем народного танца, которому предоставили право выступить на знаменитой сцене Ла Скала в Милане. Концерт произвел фурор: занавес театра подымался 14 раз, установив своеобразный рекорд. Танцоры с огромной трагической артистичностью, юмором и темпераментом выносят на суд публики историю небольшого народа. Особенности грузинской души, выраженные в танцах Илико Сухишвили и Нино Рамишвили, по-прежнему волнуют зрителей и наполняют их сердца неизгладимыми впечатлениями.

ELEna

ia vsio prochla.
interesno shto ob etom dumaet mat teresa?
zdes idiot razgovotr o tancax ili o ee persone?