Methodology for Learning Kyrgyz Folk Dance. Part 2

Hand Positions in Dance

In discussing some of the most characteristic movements of Kyrgyz dance, we emphasize that the movements for women and men are different. First, let’s talk about hand positions.

Starting Position

Both hands are freely lowered down, wrists soft, straight, fingers pointing down, palms facing towards oneself (Fig. 1).

First Position
Both hands are raised forward. For girls, the arms are soft at the elbows and wrists, palms facing down (Fig. 2).

Second Position
Both hands are raised to the sides. For girls, the elbows are rounded, wrists straight, fingers rounded (Fig. 3). For boys, the wrists are clenched into fists, slightly raised, with fingers bent towards themselves (Fig. 4).

Third Position
Both hands are raised upwards. For girls, the elbows are rounded, wrists straight, palms facing each other and slightly down, fingers pointing up (Fig. 5).

There are significantly more hand positions in women's and men's dance than mentioned. For example, in women's dance, a bow is mandatory (Fig. 6). The right hand is pressed to the chest (to the heart), the left hand is opened to the side in the second position, with the wrist lowered. The head is also lowered, legs in the sixth position, knees slightly bent.

In the second hand position already described in women's dance, the hands can be lowered, as shown in Fig. 7. In this case, the head is raised.

Various hand positions in women's dance, as shown in Figs. 8, 9, 10, 11, 12, 13, give greater expressiveness to the dance movements. These hand movements resemble labor processes.

In women's dance, hand positions with wrists bent upwards are often seen, as in Fig. 14. By bending the arms at the elbows and then stretching them out again, the wrists are bent forward, as if the performer is rolling wool.

Ornamental hand positions of the performer in dance are not related to the imitation of any labor process. For example, the hand position in Fig. 15. Here, the dancer's hands seem to touch the headwear. At the same time, the elbows should be drawn back, and the wrists raised straight up.

During the dance, the hands can be in the position shown in Fig. 16. In this case, the wrists do not touch the face, and the tilt of the head and direction of the gaze complete this pose. The positions of the hands and head shown in Figs. 17, 18, 19, and 20 emphasize the lyrical character of the performance. The positions of the hands and head (Fig. 21) emphasize the willful character of the dancer's movement.

Coquetry is evident in the hand positions shown in Figs. 22, 23, and 24. The girl seems to cover her face from the gaze of the young man (Figs. 25, 26), but at the same time, she slyly glances at him.

Hand positions in men's dance are significantly less diverse than in women's. They mainly resemble the hand positions of riders galloping on spirited horses or musicians-narrators performing fragments from national tales.

The hand positions shown in Figs. 27, 28, 29, 30, and 31 demonstrate the strength, agility, and energy of the dancers.

With a skillful movement, the young man stops the fiery horse (Fig. 32) and plays the komuz (Figs. 33, 34). One of the characteristic hand positions in men's dance is both hands on the waist (Fig. 35).

This can be performed both in dance and during pauses.

Since improvisation is allowed in the hand positions of Kyrgyz dance, the movements are not regulated.