Basque and Georgian Dances
Basque people have big love of dances. Some the more ritual dances are performed only for
particular events or circumctances and initially were performed by male dancers [Link] are
various types of dances. The first on is Dantzari Dantza. is a well known cycle of dances where on
the eve of the local feast day, it is the custom to set up the traditional San Juan or Donianeatxa oak
tree Sorgin Dantza from Oria (Gipuzkoa) is a comical or a burlesque dance that reach their peak
in the Sorgin Dantza, or dance of the witches. These dances, a combination of wild and sometimes a
bit obscene body movements, have managed to remain alive over time in certain towns. The best
known of these dances can be seen in the town of Lasarte-Oria. As the story goes, this dance
simulates a group of workers who moved here from the town of Bergara. Today this dance is also
danced in the town of Antzuola during Carnival, although here, along with the dantzaris and
musicians, there are also people dressed up as bears and monkeys.
Mutxikoak is a popular dance of Basque Ancestors, which comes back stronger these days[citation needed],
as if the tradition could never be forgotten. Mutxikoak which in Basque means that at first "a young
boy's dance", although women dance it more now than young boys. It is danced in circle as around a
sun, where the individuality of each other fuse together with the universality of an illimited circle,
where each person is unique even if everybody dances the same dance.
END OF FESTIVAL DANCES. The third group of dances comprises the dances that wrap up feast days
and Carnival festivities. These days have been handed down to us in certain areas of the Basque
Country. The Jorrai Dantzak (weeding hoe dances) and Zaragi Dantzak (wineskin dances) in Arano,
Markina, Goizueta, Mutriku, Deba and Oikia serve as a symbolic ending to the wild festivities with their
beating and thrashing and burning of the swollen yet empty wineskin. It is the end of one cycle and the
beginning of another.
SOKA DANTZAK. This section includes a large group of dances all having one
thing in common. The Soka Dantzak or rope dances can be found throughout the
Basque Country. They have a number of different names, including Aurreskua,
Erregelak, Ingurutxoa, Zortzikoa, Soka Dantza, Baile de la Era or Larrain Dantza,
Ttun ttun, Dantza or Iantza Luze, Branlea, Trapatan, Pamperruque, etc.
Photo: The dancers of Lizarra/Estella (Navarre) dancing in the procession on the
most important day of the festivities in honour of the local patron saint.
These are social dances par excellence. Both sexes take an active role, breaking with the traditional male
hegemony. There is no set criteria for dress as is often the case in other types of dances. These dances
are made up of different parts, some of which are performed on their own. Such is the case of dances a lo
suelto (individual) or a lo agarrao (dances where the couple holds each other close together) dances:
Jotas, Arin-arin or Porrusaldak/and the so-called Kalejirak dances.
Georgian National Dances
Kartuli dance is a romantic/wedding dance. It is performed by a dance couple. During the dance, the
man is not allowed to touch the woman and must keep a certain distance from his partner. The
man's upper body is motionless at all times. It shows that even in love, men must control their
feelings. The man focuses his eyes on his partner as if she were the only woman in the whole world.
The woman keeps her eyes downcast at all times and glides on the rough floor as a swan on the
smooth surface of a lake. There have been only a few great performers of Kartuli including Nino
Ramishvili, Iliko Sukhishvili, Iamze Dolaberidze, and Pridon Sulaberidze.
This war dance originated in Guria/Adjara, in southwestern Georgia, based on the numerous
invasions of the country. The dance was originally performed by only a few men. However, over time
it has grown. In today's version of Khorumi, 30-40 dancers can participate, as long as the number is
odd. The dance has four parts: a search for a campsite, the reconnoiter of the enemy camp, the
fight, and the victory and its celebration. It is strong and simple but distinctive movements and the
exactness of lines create a sense of awe on stage. The dance incorporates the themes of search
war, and the celebration of victory as well as the courage and glory of Georgian soldiers. Khorumi is
traditionally accompanied by instruments and is not accompanied by clapping. Drum (doli) and the
bagpipe (chiboni) are two key instruments to accompany Khorumi. Another unique element of
Khorumi is that it has a specific rhythm, based on five beat meter (3+2).
Adjaruli also originated in Adjara, which is where it gets its name. Adjaruli is distinguished from other
dances with its colorful costumes and the 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. Unlike Kartuli, the relationship between men and women in this
dance is more informal and lighthearted.
This mountain dance unites love, courage, respect for women, toughness, competition, skill, beauty,
and colorfulness into one performance. The dance starts out with a flirting couple. Unexpectedly,
another young man appears, also seeking the hand of the woman. Vigorous fighting between the
two men and their supporters ensues. 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. The young men
from both sides attack each other with swords and shields. On some occasions, one man has to
fight off 3 attackers. At the end, a woman (or women) comes in and stops the fighting with her veil
once again. However, the finale of the dance is "open" –meaning that the audience does not know
the outcome of the fighting. Khevsuruli is very technical and requires intense practice and utmost
skill in order to perform the dance without hurting anyone.
Kintouri portrays the city life in old Tbilisi. The dance takes its name after "Kintos" who were small
merchants in Tbilisi. They wore black outfits with baggy pants and usually carried their goods on
their heads around the city. When a customer chose goods, a kinto would take the silk shawl
hanging from his silver belt and wrap the fruits and vegetables in them to weigh. Kintos were known
to be cunning, swift and informal. Such characteristics of Kinto are well shown in Kintouri. The dance
is light natured.[4]
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