The Folk-Stage Style of Kyrgyz Choreography
Dance enthusiasts can learn a lot and find interesting and educational insights when getting acquainted with dance scenes and performances in opera productions. The round dance in the opera "Altyn kokul" ("Golden Chub") by M. Raukhverger, games, round dances, and youth dances in M. Abdrayev's opera "Oldzhobai and Kishimzhan," youth dances and games based on ritual songs "Shyryldats" and "Bekbekey" in the opera "Aidar and Aisha" by A. Amanbaev and S. Germanov, as well as the diverse dance plasticity and colorful costumes of the performers, provide an opportunity to understand even deeper the expressive possibilities of national stage dance. In this regard, the opera "Manas" by V. Vlasov, A. Maldybaev, and V. Fere is of particular interest, as it is literally filled with various military games of the warriors of Manas, spirited dances of the konurbai jigits, languorous dances of Indian dancers, and martial dances of horsemen and female riders. All of the above seems to revive the national dance culture of past times while clearly demonstrating the features of a new era.
In national opera productions on contemporary themes, forms of everyday dance, such as the waltz, prevail. To characterize negative characters, the authors use sophisticated rhythms of some Western dances, as seen in the musical comedy by N. Davlesov "Asta sekin, koluktu" ("Careful, Bride").
Today, it can be noted that national choreography has already established such dance forms as round dances, mass dances, youth dances, inter-dances, solo dances, and dance-games. Their variety is immense, and every day brings new dance samples to the treasury of folk creativity. If the Kyrgyz ballet theater of recent decades in productions like "Asel" by V. Vlasov, "Immortality" by Ch. Nurymov, "After the Tale" and "The Moan of the String" by E. Jumabaev, "The Tale of Munkurte" and the ballet-oratorio "Mother's Field" by K. Moldobasanov strives for more complex, mediated forms of embodying dance folklore and its individual elements based on the academic school of classical dance, then the choreographers' appeal to national games vividly shows how many still inexhaustible potential opportunities for the development of national dance are contained within them, as this life-giving treasure of the people remains inexhaustible and fabulously rich.
In the works of choreographers from different generations, the style of Kyrgyz folk-stage choreography is formed.
Much here is determined by the talent of the choreographer, their knowledge of folk life, and the imaginative, creative reinterpretation of it in dance-plastic images. I. A. Moiseev staged mass dance compositions "Yurt" and "Kyz kuumay" at the Kyrgyz State Academic Theater of Opera and Ballet named after A. Maldybaev. Here, there were both a plot and vivid national characters, temperamental jumps, and comical adventures of the participants.
The dance began with preparations for the holiday. Participants built a yurt, celebrating the completion of their work with joy.
Then the game "Kyz kuumay" ("Catch the Girl") began. The choreographer structured it as a competition between young men and women. The swiftly galloping horsemen-jigits and brave girls chase each other, some fall behind, eliciting approval or laughter from the spectators. The overall merriment is sparked by the organizer of these competitions, whose horse suddenly carried him in the opposite direction.
Development of National Culture in Dance. The History of Kyrgyz Folk Dance. Part 3