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Worldview Foundations of Yakut Ritual Dance “Bitii”

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Worldview Foundations of Yakut Ritual Dance “Bitii” Lukina, A. /Vol. 8 Núm. 24: 162 - 169/ diciembre 2019 162 Artículo de investigación Worldview foundations of Yakut ritual dance “bitii” Мировоззренческие основы якутского ритуального танца битии Recibido: 6 de julio del 2019 Aceptado: 19 de septiembre del 2019 Written by: Angelina Lukina74 SPIN-code: 5172-3985 Abstract Аннотация The article analyses a ritual dance called “bitii” in В статье проводится анализ ритуального the context of mythical, ritual, and worldview танца битии в контексте мифо- ритуальных и ideas of the Yakut people. It studies the semantic мировоззренческих представлений якутов. of the ritual dance, the symbolic meaning of Выявляется семантика ритуального танца. movements, postures, ritual gestures, all of which Символика движений, ритуальных жестов, are parts a unique language based in the поз — особый язык, основанный на worldview foundations of the people. The article мировоззренческих представлениях народа. considers the “bitii” dance in its ethnographic and Рассматриваются функции ритуального semantic aspects as an inherent part of the ritual танца. Танец битии рассматривается в complex, and examines the meaning of this dance этнографическом, семантическом аспектах in the life of the Yakut people. This paper как неотъемлемая часть обрядового uncovers how a ritual dance is embedded into the комплекса. Рассматривается значение и inner works of mythological thinking and how смысл ритуального танца битии в this corresponds with religious ideas and жизнедеятельности якутов. В статье worldviews of Eurasian nomads. The topic is выявляется «включенность» ритуального relevant as it is necessary to preserve archaic танца во внутренний механизм examples of the dance folklore of the Yakut, мифологического мышления, его people with a complex multi-ethnic origin and соответствие религиозным и known as the northernmost Turkic people, for мировоззренческим идеям кочевников future studies and posterity. The article presents a Евразии. Статья обусловлена ritual dance as a specific form of plastic and необходимостью сохранения для науки dance manifestations of spiritual legacy of the архаичных образцов танцевального ethnos. фольклора якутов, именуемых самыми северными тюрками – народа со сложным Keywords: Worldview, religion, spirituality, полиэтническим происхождением. В статье three worlds, folklore, ideas, rite, ritual, ритуальный танец рассматривается как traditions, creativity, dance, image, myth, idea, своеобразная форма пластически- concept, cult, deities, shaman, blessing, sacred танцевального проявления духовного action, movement, structure, semantics наследия этноса. Ключевые слова: мировоззрение, религия, духовность, три мира, фольклор, идеи, обряд, ритуал, традиции, творчество, пляска, танец, образ, миф, идея, концепция, культ, божества, шаман, благословение, священнодействие, движение, структура, семантика 74 Doctor of Art History, Professor of the Department of Choreography Arctic State Institute of Arts and Culture Honored art worker of the Russian Federation Yakutsk, Russia Encuentre este artículo en http://www.udla.edu.co/revistas/index.php/amazonia-investiga o www.amazoniainvestiga.info ISSN 2322- 6307 Vol. 8 Núm. 24 / Diciembre 2019 163 Introduction The peoples of the North, including the Yakuts, G.V. Xenophon, S.I. Bolo, A.A. Savvin, G.U. have created a rich dance heritage, which is part Ergis, A.N. Alekseev and others are the of their spiritual activity. methodological basis. The purpose of the study is to identify the In the analysis of the ritual choreography of the original foundations of the Yakut ritual dance Yakuts, the author relies on the works of M.Ya. bitii, its connection with the religious and world Zhornitskaya, researcher of the dance culture of outlooks and key world outlook ideas of the the peoples of the North and the Arctic, and nomads of Eurasia. The bitii dance is considered materials S.A. Zverev - Kyyl Uola, connoisseur as an integral part of the spiritual universe of the and bearer of the traditional culture of the Yakuts. Yakuts. The author relies on the works of the following modern scholars of the traditional The relevance of the article is due to the need to culture of the Yakuts: R.I. Bravina, E.N. preserve the traditional dance heritage, the lost Romanova, P.A. Sleptsova, V.M. Nikiforova, samples of the ritual choreography of the peoples A.E. Zakharova and others. of the North as material supplementing with the scientific data domestic and foreign folklore. The The article uses the method of analysis of the relevance of the topic is due to the increased structure, content and vocabulary of the ritual interest in traditional culture, in particular in the dance bitii in the context of the main ritual action traditional dance culture of the peoples of the of the Yakuts – Ysyakh. North and the Arctic. The relevance of the article lies in the introduction into the scientific Scientific and practical relevance circulation of plastic - dance symbols, signs that carry valuable information. Theoretical and practical study of ritual choreography patterns will contribute to the The preservation and development of a unique preservation of the Yakut dance heritage, the archaic example of the ritual dance bitii in the revival of lost forms of dance of spiritual value, modern culture of the Yakuts is an urgent task and the creation of modern stage interpretations that contributes to the preservation of the cultural based on it. The research material may be of diversity of the peoples of the North. interest to researchers of traditional dance culture and can be used in scientific research to further Methodology study the ritual choreography of the peoples of Russia. Research materials can be used in The methodology of the study of the dance teaching and can be used in the development of culture of ethnic groups includes the study of the curricula, study guides, textbooks of higher and semantics of the dance, its meaning at different secondary educational institutions of art and historical stages. The study of archaic samples of culture. The materials of the article can be used the ritual choreography of peoples involves the by professional and amateur dance groups in study of the morphology of dances, its forms, their creative work and in the search for structure, and basic elements of dance. The interesting subjects, vocabulary for the stage methodological basis of the study was the work embodiment of traditional images, symbols. of domestic researchers of ethnography, folklore, ethnochoreology. Proceedings of the researchers Results and discussions I.G. Gmelin, I.I. Lindenau, A.F. Middendorff, R.K. Maaka, I.A. Khudyakov, V.L. Seroshevsky, Yakut dance bitii is a classic example of sacred E.K. Pekarsky, V.S. Troshchansky and others are ritual dance. The dance of bitii reflects the the main methodological basis in considering the ideological and religious representations of the mechanisms of mythological thinking in Yakuts. The content, structure, vocabulary of the traditional dances. dance shows the connection of dance with the ideological foundations of the Yakuts. Bitii was The philosophy of spiritual culture is contained involved in all the key rites of the Yakuts. The in the works of K. Levy - Strauss, M. Eliade, ideas of the bitii dance are firmly connected with E.M. Meletinsky, B.N. Putilova, S.E. Malova, the ideological and religious system of the V.M. Zhirmunsky, E.A. Jordanian. nomads of Eurasia. In the Hunnic time i.e. in the 3rd century BC, the cult of the sky was the main Materials on the traditional culture of Yakut worldview in Central Asia. The origins of the researchers A.E. Kulakovsky, P.A. Oyunsky, Yakut dance bitii go back centuries. Yakut Encuentre este artículo en http:// www.amazoniainvestiga.info ISSN 2322- 6307 164 traditional dances, including the bitii ritual The functional significance of the dancers was dance, are genetically related to the Central that they should become intermediaries between Asian worldview and religious systems. In the the deities and the shaman (priest), representing initial stages of the formation of the sacred dance the interests of people. Bitiisity are selected bitii, of course, totemic performances played a dancers who strictly observe all the requirements large role. This is the cult of the sacred birds and and recommendations of the shaman. They the cult of the horse, which can be clearly seen in underwent rigorous selection, in which virginity the content, structure and vocabulary of the is one of the main conditions, i.e. "purity". It was dance. With the development of religious beliefs, believed that only “pure” physically and morally the cult of Urun Aiyy Toyon, the supreme deity girls and boys could communicate with the gods of the Yakuts, came to the fore. Requests for the and could bring to them the requests of a shaman well-being of the clan, the tribe of Aiyy - deities or priest - algyschyst. and spirits - masters of nature became the main leitmotif of the dance. Bitiisity i.e. “Singing In essence, these requirements had traditional dancers” are sacred dancers who accompanied roots and were formulated among the people, and the shaman or priest in their rites. Bitiisity were the shaman voiced them. The shaman gradually intermediaries between people and deities of the introduced them to ritual practice. Upper World. The main task of the ritual dancers is to establish communication with the deities, to Bitii was performed under the direct supervision convey the requests and wishes of people to the of a shaman. Bitiisity
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