-A topic about/for the most beautiful (cultural) dances, the best emotional expressions, the strongest posture, harmonial rhythm etc. -Video's, explanations, tutorials, book recommendations, citations, playlists, channels, experiences. -Please, do not put any (modern) crap on here, no Sub-Saharan Africans or their ''dances'', nor their attempt with their flat feets to participate in ballet and such.
I, personally, have the most attraction to the Kavkaz dances (Georgia, Armenia, Chechnya, Circassia). I recommend the book 'Apollo's Angels: A History of Ballet', a great insight on how ballet started and evolved - the meaning of the movements poetically explained and great citations included.
The Legend of Love - Nadezda Batoeva. Music and dance in perfect harmony.
In June, the whole month, i will join the dance school of Assa - Lezginka, Chechen dances. My aim is to improve my reflexes, strengthen my posture and body language, develop a fundament for dancing an sich, and so i can improve myself as a whole, a guidance through life.
''Have you ever wondered why Waynakhs dance one way but not another way?
The girl glides like a white swan, gracefully bending her figure and smoothly moving her hand. The boy pursues her around the circle, either following her or blocking her way in a swift spurt. The rhythm becomes more and more expressive, their eyes are burning and the air is torn by screams: “H1ors! H1ors to1!” The boy twines around the girl like a whirligig: “Ors-toh! Toh! H1ors!”. Indeed, this dance should mean something, shouldn’t it?
You know, initially all dances of the world had meaning. They were components of sacred ceremonial rites and reflections of the spiritual culture of a people. The echoes of a ritual act are clearly seen in Waynakh dances.
Finally, what does this mysterious exclamation mean: “H1ors (ors), h1ors to1 (ors-toh)”?
The legend of “The maintenance of judges of Tkhaba-Yerd temple” tells us about the fact that Waynakh dance carries the echo of some ancient mystery. Here is a fragment from this legend:
“There were two circles drawn near the Tkhaba-Yerd temple: the smaller one in the center and the bigger one from the outer side. The newlyweds were brought to dance in this strip between two circles in the presence of judges. If a dancer even slightly touched the line of one of the circles, inner or outer, then the judges exclaimed: ‘E-e, narto!’ This exclamation meant, that the dancer violated the line. The bridegroom was brought to give maintenance for three days to the judges again after a year and to dance again with his wife along this circle. This could be repeated every year, until the pair danced flawlessly…”
But what ritual sense did our ancestors put into the dance?
One can mark out the most important elements of the dance, which are connected with the sacred rites:
1. Circle (the dance is performed along the circle);
2. The presence of one pair;
3. The movement of a man behind a woman (“pursuit”), or attempt by a man to block the woman’s way;
4. The position of man’s arms: he moves his arms apart (something like cross) or bends one arm keeping his hand near his breast, and he moves the other arm apart, leading it behind a woman (something like swastika);
5. It also remained as an archaism, that a man embraces the woman’s waist by closing his fingers behind her back, but not touching her body. In later times this gesture was interpreted as a sign of daring;
6. The movement was performed in a slow tempo. According to the words of old people, earlier dances were slower. It was regarded as shame if metal pendants which decorated Caucasian belts would collide and clank during the dance. In addition, earlier dance competitions were organized by hooking a certain amount of the alchiks to the belt (alchik is beef bone used in games). The dancers were gradually hastening the tempo; the one whose alchiks collided, lost. Presently, Chechen and Ingush dances are performed in the most furious manner among all Caucasian dances, and the strict rites of the dance are not observed;
7. If a man blocks woman’s way and she cannot move, she should whirl in place;
8. A man, getting up on his tiptoes, throws up his arms maximally above his head (by the way, at the beginning of 19th century, under the charm of Caucasian dance, Paris ballet “got up on their tiptoes”);
9. It was a shame if a man touches a woman during the dance, even if they are relatives, unlike Kabardians and Adige’s in which men and women perform some dances arm in arm. (And here not only Waynakh customs are seen, where a strange man touching a woman is considered at the same level as adultery. You know, some other North Caucasian peoples had the same notions in the past);
10. The man’s exclamation (women pronounce no sounds during the dance) “hIors (ors), hIors-toI (ors-toh)”. In the same manner, by the way, the neighboring peoples exclaim during the dance (Ossetian and Dargin “arstoh”, etc.)
What ancient sacred notions of the ancestors of the Chechens could be reflected in dance?
Obviously, one should search for the answer in the solar cult existing in Waynakhs in the past. There are reasons to consider that a man and a woman imitated the movement of the Sun and the Moon. It is said in the ancient Waynakh legend (“As Sun, Moon and stars appeared”) that one skillful blacksmith sent matchmakers to the radiant girl, not suspecting that she was his sister. After her refusal, he took the golden blazing torch and came to the girl himself. “The girl saw him and took to her heels. He followed her. He ran behind her for a very long time until they both died. The sparks from the golden torch turned into stars. The radiant shining remained from the girl, the firebrand – from the young blacksmith. They turned into the Sun and Moon. And until now, the Sun cannot catch up with the Moon”.
There is also the riddle in Waynakhs: “Do you know, what it is: the sister does not meet her brother, the brother cannot catch up with his sister?” The answer is the Sun and Moon.
In Waynakh, like many other peoples, the Sun was a powerful male deity in heathen notions.
Cosmological notions of the ancestors of Chechens and Ingush are also reflected in symbolic images (pictograms) on the belt buckles of 6th – 5th centuries B.C. (for example, from the burial place of Meadow sepulcher near Muzhichi village), or at the similar pictogram at the castle stone of one of the ancient towers in the Egikal fortress.
According to R.M.Uzhakhov’s opinion, the probable decoding of such and similar pictograms is the following: the broken line is the sea (according to the traditional Waynakh notions the Sun came out from the sea in the morning and came to it in the evening, plunged into “West waters”), and “winged discs” at the sides – the Sun during sunrise and sunset. The central disc in these images has “wings”, maximally lifted up – this sign symbolizes the Sun in the zenith. (Such patterns remain at pendants, ancient carpets – “istangs”, weapon decorations, etc.).
All this things explain many elements of Waynakh dance, don’t they?
The “pursuit” of a man behind a woman along the circle is the movement of the Sun (a man) and Moon (a woman). The same explain the fact that in Waynakh choreography one pair but not a group of people were dancing.
The position of the man’s arms apart, in the form of the cross meant the Sun in sunrise and sunset. Because the cross itself (which became a Christian symbol later), comes from heathen beliefs and initially was a symbol of the Sun, it is very possible (and it is declared yet in scientific researches) that the notions about Jesus Christ (peace to him), “crucified on the cross” comes from more ancient associative signs: the Sun – cross – man; the symbols of a man inside the circle or a cross inside the circle have analogous meaning.
The position of the man’s arms, when he bends his arm, keeping his hand near his breast, corresponds to the image of the swastika, which symbolizes the Sun in its celestial movement. The swastika is one of the most widely-spread signs on ancient Waynakh architectural installations and decorative items.
Getting up on his tiptoes and throwing up his arms above his head, a man imitates the Sun in its zenith. And finally, “bravado” with embracing of woman’s waist, without touching her body, also can be easily explained: it is a symbolic imitation of a lunar eclipse (in Chechen “retention of the Moon”, “butt latsar”). The other elements of Waynakh dance also can be explained in the same “solar” way.
Obviously, the strict ceremonial rites of the dance, the character of solar mystery which it carries, began to be violated and forgotten with adoption of Islam in our land. The ritual was losing its cult content more and more and was turning into a dance. The tempo began to hasten, some elements were lost, and others were assumed. Now it will be easier to unravel the meaning of the exclamation “h1ors-to1 (ors-toh), h1ors (ors)”.
It is known that ancient Sarmats worshipped the solar deity by the name of Khors. This deity was revered also in medieval Rus. In many languages of the Iranian group, different vowels of this word meant the Sun. One can suppose that to the ancestors of Waynakhs, who were in close contact with Iranian-speaking world, this “dance” exclamation also meant the Sun as an object of sacred reverence?
...When the sounds of the inflammatory dance calmed down, we think not about mystery of celestial bodies, but about nobleness and valor, because Chechen dances with their furious rhythm and at the same time with strictness of the movement truly is the beautiful anthem of freedom!''
Cretans, decedents of the Dorians. Along with Maniates, a region in southern Laconia, near Sparta, they are known as fierce, proud, people. brutal, masculine...ferocious warriors. Never mess with their daughters. Also known for their long family vendettas.
Zeimpekiko...music and dance came over after the last Greco-Turkish war, with the population exchanges. From the Greeks of Asia minor. A masculine dance, usually for one male, supported by his buddies. The dance and music reminds us of what westerners call "Zorba" dancing... the lyrics, when sung, are full of pain and suffering. The male dancer, a bit inebriated, usually broke plates and glasses as a way of relieving his own pain. This is where Greeks braking plates, comes form. Later the style was associated with the underworld, and rug use...like modern RAP, or blues, before it.
In modern times women have been performing the dance....not cool.
The dance imitates this state of drunkenness, and is very Dionysian. This particular song was written by the late Loizos, one of my favorite modern Greek composers and song writers. It's called Evdokia's Zeimpekiko. This particular tune has no lyrics. It is exclusively for listening, drinking, and dancing.
Perhaps most of you will connect this with Zorba...
Danced by 3-4 males...again from Asia Minor.
Here is rempetiko, the bluesy style brought over form Asia minor and dominated the music scene in Greece for a century. My favorite style, in Greek music. I get goose-pimples from some of the songs and lyrics. Dark, full of abandonment, Dionysian. The dance is always freestyle. A man circling the ground, circling in a drunken state, leaping into the air, trying to escape the gravity, the earthly.
One of my favorite singers, died last year. Mitropanos.
And one of the best performances...in singing and bouzouki playing. The singer actually loses it, towards the end...weeps. I cry with him. Speaks of a young man lamenting his life, to his mother...and how this world is not for people like him, and how only she would weep for his death. A sociopolitical commentary. The bouzouki player is amazing.
Those Cretan dances (as well the drunk man's dance) are amazing, what is the symbolism of the man at the very end of the line making himself loose and being absorbed in the middle, to be replaced by another, in a cycle?
Satyr Daemon
Gender : Posts : 37245 Join date : 2009-08-24 Age : 58 Location : Hyperborea
Those Cretan dances (as well the drunk man's dance) are amazing, what is the symbolism of the man at the very end of the line making himself loose and being absorbed in the middle, to be replaced by another, in a cycle?
This was a stage performance, so they are facing the crowd. Usually they move in a continuous circle. The first man breaks free, does a little solo, and attaches to the back, or the middle, of the line, usually, giving his place to the second man. Yes the symbolism is the cycle of life, or on the battlefield one man dies giving his place to another.
This dance gets faster and faster. A warrior dance. The frenzy of battle.
Another Greek warrior dance, this time from Pontos, the area in north Turkey on the coast of the Black Sea. The lands were lost after the Greeks withdrew, almost having reached Ankara, during the last Turko-Greek war. the allies intervened fearing a powerful Greece, lending support to the Turks who were practically defeated. The Greek populations along the Aegean were also forced to leave, after 2000 years of presence.
The dance is called Πυρριχιος, (pyrihios) from the Greek πυρ (pyr) - fire...traced back to the ancients.
_________________ γνῶθι σεαυτόν μηδέν άγαν
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
Thank you! If you have documents /books on their footwork i would be very delighted.
I cannot understand them, but it might be interesting for you - about the dances.
_________________ 1. "Youth, oh, youth! | of whom then, youth, art thou born? Say whose son thou art, Who in Fafnir's blood | thy bright blade reddened, And struck thy sword to my heart."
2. "The Noble Hart | my name, and I go A motherless man abroad; Father I had not, | as others have, And lonely ever I live."
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
_________________ 1. "Youth, oh, youth! | of whom then, youth, art thou born? Say whose son thou art, Who in Fafnir's blood | thy bright blade reddened, And struck thy sword to my heart."
2. "The Noble Hart | my name, and I go A motherless man abroad; Father I had not, | as others have, And lonely ever I live."
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
As if they are in a trance, already celebrating victory.
_________________ 1. "Youth, oh, youth! | of whom then, youth, art thou born? Say whose son thou art, Who in Fafnir's blood | thy bright blade reddened, And struck thy sword to my heart."
2. "The Noble Hart | my name, and I go A motherless man abroad; Father I had not, | as others have, And lonely ever I live."
A variance of Zeimpekiko, danced face to face, with another man. As if in a drunken brawl. A Dionysian face-off.
Hasapiko, how it is supposed to be danced: three men.
A few last Zempekiko. The dance is performed in a Dionysian state. Usually a single male, or two face to face, dancing with moira (μοιρα) fate. The dance is a lament. Man dancing with his own fate...facing-off with it.
To cut into another man's dance is bad form, an insult that can result in a fight. The moment is intimate - sacred; a man dancing with his own life, honoring his pain, his fate: a spiritual moment before the future. One man's past, dancing (acting) before his unknown future. The others, if any are present, watch, or support, they do not intrude.
The particular song being sung is one written during the post-war era in Greece. Very drug oriented, speaking Greek in a slang form. A "heavy" variety of Rempetiko, the most bluesy kind. It emerged in Athens, during the period of great poverty, amongst the underclass, and the underworld types. It was banned for decades, and performed in secret, underground pubs.
_________________ γνῶθι σεαυτόν μηδέν άγαν
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
Cossack's song and dances/circle - the title says.
Their singing is great: Just their voices, clapping hands, stamping feet, beating drumms - their true expression.
The first one seems to be in lesser confidence than the other two; the second is in full confidence, hence his elegance; the third one swinging his sword, you must have trust in yourself as he expresses, his posture still has to develop - to maturity.
_________________ 1. "Youth, oh, youth! | of whom then, youth, art thou born? Say whose son thou art, Who in Fafnir's blood | thy bright blade reddened, And struck thy sword to my heart."
2. "The Noble Hart | my name, and I go A motherless man abroad; Father I had not, | as others have, And lonely ever I live."
and here's how those highlanders sing in their language and dance "Zbójnicki" (I'd translate the name as a 'Dance of Bandits'; think 'Robin Hood' to get what they mean)
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
It's been used in Eastern Europe long before the rise of the Third Reich.
In particular, Latvia - they are not East-European as being Slavonic or Scythian. But these ethnicities aside; the Swastika is an symbol used throughout the centuries by all European peoples; you can trace back whole tribes by merely following the Swastika throughout Eur-Asia.
Many Latvians see Hitler as an liberator, from the Communist system - hence, the possibility of the usage of the Swastika in these national organised dances, in particular, in honour to him.
The Swastika, you can observe this symbol in any European culture, in history. The monks of around 1000 years ago in Ireland, for example, used the Swastika to decorate the Bible.
In particular, Latvia - they are not East-European as being Slavonic or Scythian.
Sure, the majority is Slavonic or Scythian. I didn't say that they are Eastern European.
OhFortunae wrote:
the Swastika is an symbol used throughout the centuries by all European peoples; you can trace back whole tribes by merely following the Swastika throughout Eur-Asia.
The Swastika, you can observe this symbol in any European culture, in history. The monks of around 1000 years ago in Ireland, for example, used the Swastika to decorate the Bible.
Yes, the symbol of swastika, swara, swarga, swarzyca, swarożyca, etc. is at least 10000 years old.
I don't know about Latvia, but the oldest one found in Poland that I've heard about is dated approx. 4000 BC.
Slavs were using swastika as a symbol of Swarog/Swaróg ~ 'god of Sun'; but I've also heard that in other parts of the country people use it as a symbol of Bożydar ~ 'god the giver'.
OhFortunae wrote:
Many Latvians see Hitler as an liberator, from the Communist system - hence, the possibility of the usage of the Swastika in these national organised dances, in particular, in honour to him.
I'm not able to guess what numbers you imagine when you say 'many', but I wouldn't be surprised if that was the case. Personally, I've learnt things from his work that I consider to be valuable, so why not do honor to him and dance?
I would love to do that...
whith Lyssa...
and reasonvemotion...
Yeah, we would dance Polonez...
Lithuania, my fatherland! You are like health;
How much you must be valued, will only discover The one who has lost you.
Adam Mickiewicz
from Pan Tadeusz - Sir Thaddeus, or the Last Lithuanian Foray: A Nobleman's Tale from the Years of 1811 and 1812 in Twelve Books of Verse
Let Jankiel, a Jew, play a tune for you.
They start ~0:45
This is Polonez - a man and a woman.
This is Polish cuisine.
Lyssa Har Har Harr
Gender : Posts : 8965 Join date : 2012-03-01 Location : The Cockpit
It is an interesting topic; i have also had some thoughts about it. The best way to observe this relation or distance of dances in correlation with the different peoples, is by comparing negroes with non-negroes; how an individual or a group of people belonging to a specific ethnicity / breed, will always return to their true essence when dancing.
You cannot hide yourself..
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
I praise the dance, for it frees people from the heaviness of matter and binds the isolated to community. I praise the dance, which demands everything: health and a clear spirit and a buoyant soul. Dance is a transformation of space, of time, of people, who are in constant danger of becoming all brain, will, or feeling. Dancing demands a whole person, one who is firmly anchored in the center of his life, who is not obsessed by lust for people and things and the demon of isolation in his own ego. Dancing demands a freed person, one who vibrates with the equipoise of all his powers. I praise the dance. O man, learn to dance, or else the angels in heaven will not know what to do with you.
~ St. Augustinus
Quote :
"Let this day be lost to us on which we did not dance once."
~ Friedrich Nietzsche
Quote :
"Most primitive languages don't make a distinction between the words "music" and "dance." And we can see that in the brain. When people are lying still, listening to music, the neurons in the motor cortex are firing."
Daniel Levitin, in: "The World in Six Songs: How the Musical Brain Created Human Nature"
14:35 ''Ramzan Kadyrov tried to explain to the participants that the Lezginka dance is full of deep meaning, that everything is important, from the movements to the dancer's expressions.''
15:00 ''Even here, the dancers must observe strict Islamic and ancestral custom; the men must not under any circumstances touch the women, not even their clothes. Recently, Ramzan Kadyrov, criticized the dancers for not following tradition. The women looked into the eyes of young men, as well as highlighting their figures by raising their arms to high.''
15:40 ''When a woman dances with a man, she must not raise her arms above her shoulders, she does not have this right - the man's arms should always dominate over the woman's, this is an important detail.''
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
Le Maître à Danser, Pierre Rameau The Dancing Master, John Essex
''Originally published in 1725 and reissued in 1734 and 1748 by French dancing master and writer Pierre Rameau (1674-1748), this is one of the most important sources for the study and reconstruction of eighteenth-century dance technique. Part one of the text (with accompanying full-page plates) carefully describes the appropriate manner of walking, feet positions, bows, and a large vocabulary of steps. Part two covers use of the arms while dancing. The manual was translated into English in 1728 by dancer and dancing master, John Essex.''
From Apollo's Angels: The writings of Feuillet and Pierre Rameau (another prominent ballet master), however, took this fixation on etiquette to unprecedented extremes. In their books, one could learn the fine details of how to bow and take off one's hat; how to enter an apartment, pass a superior on the street, or show respect in leaving a room; how to hold one's skirt, when to lift the eyes, and how deeply to bend when and for whom; how to become, as another dancing master once put it, a ''beautiful being.''
Satyr Daemon
Gender : Posts : 37245 Join date : 2009-08-24 Age : 58 Location : Hyperborea
Cosmopolitanism in the antique greek sense meant the Affirmative gathering of the whole cosmos around an ordering pole.
"…Perhaps the Polis is that realm and locale around which everything question-worthy and uncanny turns in an exceptional sense. The Polis is Polon, that is, the pole, the swirl [Wirbel] in which and around which everything turns. These two words name THAT essential moment that the verb Pelein says in the second line of the choral ode [Sophocles’ Antigone]: that which is constant, and change. The essentially “polar” character of the Polis concerns beings as a whole. The polar concerns beings in that around which such beings, as manifest, themselves turn. The human being is then related in an exceptional sense to this pole, insofar as human beings, in understanding being, stand in the midst of beings and here necessarily have a “status” [“Status”] in each case, a stance in their instances and circumstances. The word “status” means the “state”. Therefore Polis does indeed mean as much as “state”.
…the Greek Polis is supposed to be the “city state”. …It is neither merely state, nor merely city, rather in the first instance it is properly “the stead” [“die Statt”]: the site [die Statte] of the abode of human history that belongs to humans in the midst of beings. This, however, precisely does not mean that the political has priority, or that what is essential lies in the Polis understood politically and that such a Polis is what is essential. Rather, it says that what is essential in the historial being of human beings resides in the pole-like relatedness of everything to this site of abode, that is, this site of being homely in the midst of beings as a whole. From this site and stead there springs forth whatever is granted stead [gestattet] and whatever is not, what is order and what is disorder, what is fitting and what is unfitting. For whatever is fitting determines destiny , and such destiny determines history. … from out of the relationship to the gods, out of the kind of festivals and the possibility of celebration, out of the relationship between master and slave, out of a relation to sacrifice and battle, out of a relationship to honor and glory, out of the relationship between these relationships and from out of the grounds of their unity, there prevails what is called the Polis." [Heidegger, Ister]
This is actually the symbolism behind the pagan/I.E. festivity of the "Maypole" every spring when the new sun took birth and started its journey again, and Order of the whole cosmos was "re-newed" - which meant, there was fertility - lands prospered, cattle prospered, a society blossomed like spring into a sacred Order. Girls dance around in circle twining ribbons around the pole that was thought to connect the earth with the law-giving heavens, binding the two realms, the mortal and the immortal together, weaving the fates together...
_________________
"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]
"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]
"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]
*Become clean, my friends.*
Lyssa Har Har Harr
Gender : Posts : 8965 Join date : 2012-03-01 Location : The Cockpit
One of the dance moves is called hallingkast. In this move, a girl has traditionally held a hat high using a stick or something similar, and the dancer is supposed to kick down the hat. Kast is seen as the test of strength, which involves kicking a hat that is held about 230 to 280 cm above the floor. Some girls have been able dancers themselves, and known to be as agile as any man. The agility of the female dancers may have been even greater, considering they danced in their skirts.
There is some sources, mainly from Gudbrandsdalen, who document that certain moves from the dance (especially the throwing), were used in man-to-man combat. Sources tell of a man from the area who used his agility to kick down two opponents in a skirmish.[citation needed] Thus, his ability to reach the hat came in handy. Some halling moves may be similar to moves found in combat sports like Taekwondo or Capoeira.
_________________
"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]
"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]
"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]
He is like an eagle guarding his feminine equivalent within his circular wings, ready to fly away with merely his toes yet on the earth. The woman moving so freely, seducing as if her arms want to fly away from him, yet his arms won't let her go - as was her desire.
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
I like the contrast being made between the continuation of the past (the people from the village), and the moderns with their nigger dances at minute 2:08, and at 2:28 - the people from the village are standing firm against the moderns.
_________________ 1. "Youth, oh, youth! | of whom then, youth, art thou born? Say whose son thou art, Who in Fafnir's blood | thy bright blade reddened, And struck thy sword to my heart."
2. "The Noble Hart | my name, and I go A motherless man abroad; Father I had not, | as others have, And lonely ever I live."
OhFortunae
Gender : Posts : 2311 Join date : 2013-10-26 Age : 30 Location : Land of Dance and Song
''The audience must feel the inner energy while also seeing that the dancer has that energy under control. That's the art, and that's what allows the audience to enjoy it. The dancer must convince the audience that inside of him there is a raging volcano but that he can control it with his body and mind. His dancing must be very controlled, that is the art. Every Chechen dances in his own style and tells something about himself. That's what's so beautiful about Chechen dance.''
