საქართველოს აღმოსავლეთ მთიანეთის საცეკვაო დიალექტი (თუშური, ფშაური, ხევსურული, მოხეური, მთიულური)

ანოტაცია

In the Georgian choreographic folk art, the dance art of the mountainous region of Eastern Georgia occupies a special place. The said dance art can be united into a single large dialect - named the Dance Dialect of the Eastern Mountainous Regions. The sub-dialects can be distinguished - Tushian, Chevsurian, Pshavian, Chevian, Mtiulurian. The basis for this is the general aesthetic markers of the choreographic folk creation of the above-mentioned regions - the similarity of the rounds and performances characteristic of ritual cult traditions, the dance movements, manner of performance and character, in individual cases also identity, as well as the homogeneity of the main line with regional variations.

The homogeneity of the dance lexis of eastern mountain regions should be attributed not only to territorial proximity (this factor also applies to other regions, although this circumstance cannot in any way interfere with the versatility of Georgian dance dialects), but also to their close integration based on historical circumstances: each region was forced to struggle with its northern neighbours and to establish certain social relations with them - with the leks, ghlighv-didoelen, kists. Therefore, they had common historical "heroes" whose heroic deeds and sacrifice were described in the popular literary works. Moreover, the mountain peoples were forced to resettle provisionally, but some permanently, in the lowlands for subsistence - a large part of the Khevsurs settled on the lowlands in Tianeti and other areas.

In the Georgian choreographic folklore of the mountainous region of eastern Georgia, the variety of dance patterns of berikaoba-kenoba, rite round dance and couple dances is attested.

The ritual and customary round dances are known as "Perkhisa" (literally - foot dance or round dance) in East Georgia, and as "Perkhisuli" in Khevsureti.

The feast days of icons and deities form a whole of pagan rites and Christian elements. One of the most important segments of these rites is the round dance. The round dance (or "perkhisa") was mainly danced during the movement or processions, while the dancers went to the place of worship, singing and dancing. The round dance ("Perkhisa") moved in a circle around its own centre. The dance performance was accompanied by songs dedicated to the Godmother whose name day was being celebrated. Songs were also sung dedicated to kings who had become saints, deities who had become heroes and certain historical heroes.

The ritual rounds generally represented a one-storey building. The dance language was based on simple steps, because it was matched to the duration of the procession, and based on this, the number of songs was also determined. The variety of dance movements was secondary.

The simple dance lexis is characteristic for several round dances, such as "Korbeghela", for the two-storey "Perkhisa" of the Tushen, whose main function was to ask the deity for a fruitful annual harvest. In this case, the above-mentioned principle of performing the round dance during the movement is doubly difficult, as the two-storeyed sacred subject is supposed to reach the place of worship singing without falling apart. Otherwise, it is considered a sign of doom in Tusheti.

In the mountainous regions of eastern Georgia, the round dance is round in shape and is characterised by the interweaving of hands over the shoulder.  There are also round dances without hand-to-hand holding, the dancers holding their hands behind their backs. The most important movement of the round dance is the step and the change from the supporting leg to the other in the fourth position. In the book by A. Tataradze "The Three-Dance (Samaia) from Pshavi" some additional movements are mentioned, including the knee bends (Mukhlura). In the "Perkhisa" of the Tushen the men stand, in one of the triple dances from Pshavi (according to Sh. Aslanishvili) the women also take part.

Much more diverse are the two-storey round dances of Tushen "Korbeghela" and "Lamproba", in the performance of which the dancers hold lit torches in their left hands and hold on to each other only with their right hands.

Part of the cult ceremonies handed down from the pagan times, were also the game dances, which blurred the boundaries of the prohibitions that arose during these ceremonies - women and men participated in these game dances. The dance of women and men accompanied the feast days of the icons after the completion of the ritual part. However, these dances were also performed at the New Year, at the wedding and at other everyday festivities. Parallel to the concept of the folk dance "Lekuri" (The "Lesginka") - a couple dance of man and woman - which became the epitome of dance in the 19th century, the term "Samaia" ("Three Dance") appeared. The analysis of this dance text brought us to the following conclusion. The dance lexicons of the couple dances, which are common in the mountain regions of East Georgia, contain movements of the "Lekuri" ("Lesginka") - the dance on tiptoe, the invitation of the woman to dance by the man, and others.

It should also be noted separately that the dance lexis characteristic of stage dances (male dance on tiptoe, the man dances in quick and short steps, after which he falls to his knees by a gyrating jump and jumps up again) are not found in the descriptions of ethnologists and art scholars. The said dance movements, which are considered the most important basis of the stage art of the mountain regions of East Georgia, are also characteristic of "Lekuri" ("Lesginka") of the men. The individual movements and dance steps can be different when performing the men's dance and the women's dance.

In the stage repertoire of the past years and today, the dances of the mountainous regions of East Georgia can be found under the following names: "Mtiuluri", "Parikaoba", "Khanjluri", "Mokheuri", "Qasbeguri", "Alvanuri", "Feast of the Women of Pshavi", "Nabadura", "Dance with Nabadi/Burka" and others.

The dynamic, impressive and attractive dance lexicon of the dances of the mountain regions of East Georgia, including the men's lekuri, forms a rich basis for the interpretation of the dances of said regions. Accordingly, a new conceptual dance lexicon has emerged in the dances (which have a distinctly authorial character): "Zdo", "Zekari", "Juta", "Abraguli", etc.

Recently, a choreographic performance based on the poem by Vasha-Pshavela "Guest and Host" was performed by the state ensemble "Khorumi" in Batumi, where the dance language was represented by the synthesis of traditional and modern (by modern I mean the dance language of the ensemble of I. Sukhishvili - Kh. D.).

The diverse dance patterns of the mountainous regions of East Georgia still remain on the pages of the literature sources. Regardless of the fact that the dances of these regions are the most attractive and are also performed quite frequently by various ensembles. The authentic material is far from the staged performances. One of the aims of the present article forms the processing of the authentic patterns and their preparation for stage performance.