Methodology for Learning Kyrgyz Folk Dance. Part 3

Movements of Girls' Hands in Folk Dance

Movement 1. Soft Rotational Movements of the Wrists Away from the Body.

Starting position. Hands in a "lowered" 2nd position, elbows relaxed, wrists free, fingers pointing down. During the dance, raise the wrists, then turn them forward, bringing the palms towards oneself, fingers pointing forward. The rotation is performed quickly but softly. The wrists describe a complete small circle. This rotational movement of the wrists can be performed in any hand position (Fig. 36).

Movement 2. Clapping Hands Above the Head.

Both hands are raised above the head, elbows rounded and directed to the sides. The left hand's wrist is bent, palm facing up, fingers pointing to the right. The right hand strikes the palm of the left hand from above, fingers pointing to the left. The hands can be switched in the movement. For example, the left hand can strike the palm of the right hand (Fig. 37).

Movement 3. Touching the Feathers on the Hat.

Starting position. The right hand is in the 3rd position, raised upwards, the wrist gently lowered with fingers towards the head, elbow rounded and directed to the right. The left hand is in the 2nd position, wrist straight, palm facing down.

The hand performs soft wave-like movements above the head, bending and straightening at the elbow; the wrist seems to gently adjust or stroke the feathers (uku) on the hat. The hand in the 2nd position performs the same soft wave-like movement.

After several wave-like movements, the direction of the hands is changed. The right hand opens to the 2nd position, the left hand is raised upwards, the wrist lowers with fingers towards the head. The transition should be soft and smooth. After the transition, the wave-like movement of the hands continues (Fig. 38).

Movement 4. "Spinning."

This movement resembles the process of spinning. The "spinner" first seems to unwind threads on the wrist of the left hand, then, having picked up an imaginary spindle with the hand, conducts it along the thigh of the right leg upwards, as if giving it rotation.

Starting position. Hands in front of the body, bent at the elbows. The wrists are in front of the performer's chest, the left closer, the right further from the body, palms facing towards oneself.

Musical meter — 4/4.

Gently conduct the wrist of the right hand under the wrist of the left, bringing it closer to the body, then raise it upwards.

Lower the wrist of the right hand down in front of the left, making a circular motion around the wrist of the left hand.

Once again, conduct the wrist of the right hand under the wrist of the left and raise it upwards.

Move the right hand to the right, clenching the wrist as if catching the spindle.

Bending the knee, lift the right leg and with the palm of the right hand conduct along it from the knee to the thigh, as if twisting the imaginary spindle from bottom to top. Slightly tilt the head; the gaze follows the movement of the hand.

Pause. Lower the right leg to the floor. Open the right hand slightly below the 2nd position, as if continuing to hold the rotating spindle on the thread.

Pause. This movement can be performed in place or combined with steps: on "one" — step with the left foot, on "and" — with the right, on "two" — with the left foot, lifting the right, on "and" — lower the right foot to the floor (Fig. 39, a, b, c).

Movement 5. "Twisting the Rope."

This movement imitates the process of twisting a rope. The imaginary rope is tied at one end to the wall of the yurt. As the rope lengthens, the performer retreats backward with a sliding step, further and further away. The hands are in the 1st position, constantly grasping the imaginary threads from which the rope is twisted, alternatingly squeezing and releasing one wrist or the other, conducting one over the other, and bringing them closer to the body.

Movement 6. "Turning."

Turn left side towards the audience. Raise both hands upwards to the 3rd position, make two "turns."
Lower the left hand down along the body, keeping the right hand in the 3rd position. Turn the head towards the left shoulder.

The movement can be performed separately, as well as together with stepping.

Movement 7. "Clapping."

Light clapping with the hands (Fig. 40).

The movements of the hands in the men's dance reflect the life of the Kyrgyz nomad. For example, riding on horseback.

Raise the left hand forward at chest level. The wrist is clenched into a fist, as if holding the reins of a horse. Raise the right hand upwards. The wrist is clenched into a fist, as if holding an imaginary whip. The performer makes circular movements with the right hand above the head, as if swinging the whip. The head is either raised or tilted forward (Fig. 41).

Another type of hand movements is related to playing the komuz, imitating the movements of a virtuoso musician. Here, the performer has room for improvisation. And if the men's dance is characterized by strong, sweeping movements, then for the women's dance, the main focus is on the softness, melodic nature of the movements of the hands and transitions, and the playfulness of the hands.

For example, a wave-like movement of the hands. It is performed over four beats. Starting position — 6th position of the legs, hands freely lowered down, upbeat "and" Open the hands to the 2nd position.

Bend the arms at the elbows and, without changing position, bring the hands closer to the shoulders and then immediately extend them.

Repeat the movements of the 1st beat.

Raise the hands above the head, and touch the backs of the hands together. At this point, the fingers of both hands are pulled away from the wrists.

Lower the hands to the starting position.

The movements of the hands, both in women's and men's dance, can have various options and variations. They can be created based on those already found and mastered in practical work. In short, this opens up a space for creative imagination for choreographers and performers.