Matanya (dance)

Male movements most often differ in temperament (arms above the head, talus of the legs with a high rise of the knee, a common occurrence is “squatting” in the middle of the circle). Women's movements are characterized by clear knocking out fractions of the legs. The position of the hands of the performers can be interpreted as arbitrary with possible options: calm, with a small amplitude of movement at the level of the belt, a clear pulsation with the hands (either open or assembled into cams) to the beat of beating fractions, free “movements” of the hands along the body, etc. Often, when the content of the verse tells of some embarrassment or if the performer really experienced embarrassment, say, from the spoken text, you can observe a typical pose, both in men and women: head - with a downward inclination and some with the collar to the side, the legs in the “squat” position, perform either fractions or an unhurried “walk” writing zigzags. In the process of perceiving the improvisational development of the composition, you may get the feeling that the performers - participants do not dance with each other, not together, but each on their own: they dance like “shamans,” driving a kind of frenzy into the ground. It is very possible that some movements, gestures, performance features really have an archaic meaning ^[2] .

Example No. 1

Dozens of boys and girls form a circle. The accordion begins to play, under which one of the most daring girls dashingly jumps into the center of the circle and sings a ditty. The whole circle is drowned, danced in the character of that music, which was set by the harmonist. To the ditty, the other responds with a more lively voice, leaving the center to the first. All participants dance again, moving in a circle. This competition of two girls continues until then. Until they themselves decide it is time to end. Then a new couple can order “Matanya” - a young man and a girl or again two girls. It has characteristic features in drawing construction, manner of execution, in the nature of hand movements. These differences are more pronounced when she is danced in different areas, villages and villages ^[6] .

Example No. 2

Another name is “Kolchak dance”. Four women (as many as possible) are taken with the right hands in the center of the circle, walking in a circle. Then they stop, they sing a ditty. The soloist goes to the center, dances. Then clap their hands. Start over. They sing in turn.

The first option: two are taken with their right hands under the elbow and walk in a circle. They stop, sing the ditty, dance arbitrarily. Then first the other way.

Second option: two hold hands with their right hands. First figure: Driving - 4 steps forward, 180 ° turn, grab your hands and go 4 steps back. Second figure: Turn to face each other. Hands - in a boat, take 4 steps in the course of the dance, then 4 steps in the opposite direction (steps added). Third figure: two circles of a waltz. Then repeat first. Middle hands - at chest level. The brush is mobile, elbows free ^[3] .