Takutdinova Diana Islamic Reflection in Tatar Folk Dance Master’s Thesis in Choreomundus - International Master in Dance Knowledge, Practice, and Heritage Spring 2017 i Table of Contents ABSTRACT ..................................................................................................................................... iv ACKNOWLEDGMENT ....................................................................................................................v ABBREVIATIONS ......................................................................................................................... vi CHAPTER ONE ................................................................................................................................7 Introduction ........................................................................................................................................7 Structure of the dissertation ............................................................................................................7 Historical glimpse...........................................................................................................................8 My intentions ..................................................................................................................................9 Finding My Topic .........................................................................................................................11 Topic importance ..........................................................................................................................13 Research question .....................................................................................................................15 Information to know .....................................................................................................................15 Who are Tatars?............................................................................................................................16 Language ...................................................................................................................................17 Religion .....................................................................................................................................17 Costumes...................................................................................................................................17 Islam and Tatars ...........................................................................................................................19 CHAPTER TWO .............................................................................................................................21 Field work ........................................................................................................................................21 Study area .....................................................................................................................................21 Research Strategy .........................................................................................................................22 Interviewing..................................................................................................................................22 Filming and Photographing ..........................................................................................................24 Insider and Outsider .....................................................................................................................25 Ethics and Data Records...............................................................................................................26 Self- reflection ..............................................................................................................................27 Location ........................................................................................................................................30 Kazan ........................................................................................................................................30 Kirov Oblast (Sosmak, Srednie Shuni) .....................................................................................32 Astrakhan ..................................................................................................................................33 Chuvashia (Urmai village) ........................................................................................................34 ii CHAPTER THREE..........................................................................................................................36 Conceptual background....................................................................................................................36 Heritage Perspective .....................................................................................................................36 Ideological influence ....................................................................................................................39 Folklore ........................................................................................................................................41 CHAPTER FOUR ............................................................................................................................44 Data analysis ....................................................................................................................................44 Voices from the field ....................................................................................................................44 Back to 1993 .................................................................................................................................49 Two existences of ‘Altyn Basu’ dance .........................................................................................52 Recruit’s Dance and ‘Altyn Basu’ step ........................................................................................53 Dance analysis ..............................................................................................................................54 Table 1 Structural analysis of ‘Recruit’s Dance’ ......................................................................57 Musical characteristic ...............................................................................................................58 Labanotation .............................................................................................................................58 CHAPTER FIVE..............................................................................................................................62 Conclusion .......................................................................................................................................62 BIBLIOGRAPHY ............................................................................................................................64 Pictures .........................................................................................................................................68 Table 1 Structural analysis of ‘Recruit’s Dance’ .........................................................................68 APPENDIX ......................................................................................................................................69 iii ABSTRACT This dissertation examines to what extent Islamic influence is preserved in Tatar folk dance. Majority of Tatars are divided into Tatars- Muslims (Sunni) and Tatars- Christians (tat: Kryashen). I have chosen dance practices of Tatar Muslims because of personal attachment to it. Tatars accepted Islam as their religion in 922. Even though entertainment activities were under the control of the religious leaders, people found time for singing and dancing. However, the representation of the dance elements and the latitude of the movements have been shaped according to the norms of Islam and further on by the respective ideologies. The aim of the dissertation is to analyze people’s awareness about Islamic reflection and norms in dance and to see what shapes ‘folk dance’ nowadays. My field work was conducted in July-August 2016 in Tatarstan, Astrakhan, Kirov Oblast and Chuvashia. Data collection contains video recordings, photographs, participant and non- participant observations and interviews. During the research, following questions were raised up: Do people see any connection with Islam in Tatar folk dance? What are the main features of Tatar folk dance? Further, I formulated my questions according to the respondent’s position and relation to dance in general. Finally, the study discusses the dance elements that characterize the religious influence based on the ethnochoreological analysis. Key words: folk dance, staged dance, Islam, Tatars, ideology, safeguarding iv ACKNOWLEDGMENT I want to acknowledge the contribution of the following people, without whom this work would not be possible. Foremost, my gratitude goes to Choreomundus and to all organizations and institutions that recognize and support this program. I want to make a profound bow to Egil Bakka, Professor Emeritus for his infinite support and encouragement in both academic and social life. Whenever I had a question or a doubt Egil was always around to help. Inmost appreciations go to my supervisors László Felföldi and Gedeminas Karoblis. László’s great experience in the field