One first example is a TV version featuring boys and girls in national garments:
From the description (read full text here):
... According to A.Ismailov
“Kara-Zhorga is a dance that embodies a variety of nuances and
techniques. It combines bellicosity and buffoonery, tender pace and
mobility, speed and calm grace” [...] Kara-Zhorga
dance reproduces a picture of a traditional horse competition called
bayge. "... Traditionally village residents gather for a feast
(called “toy” in Kazakh). Young and cheerful horsemen step out
from the crowd and start dancing - bending their bodies slightly
forward, harshly swinging with their whips and eagerly entering in
rhythmic competition. Young horsemen move in circles, lines and
diagonals, out run each other, demonstrating agility of a leap or an
intricate hop. The dance imitates horserace – rhythmically
sharp-cut hops from one foot to another and big leaps with curving of
a body compose major dance technique. A sharp-cut, rough and springy
folk tune of Kara-Zhorga dance and the movement that coincides with
the horserace rhythm, gracefully merge into a single image of bold
horsemen – called “zhigit” in Kazakh, who master equestrian
skills with their finger tips” (Sarynova, 1976: 37).
 |
| National dress |
The
first notes of Kara-Zhorga dance were taken by artist and
choreographer Aubakir Ismailov in 1928 during the meeting with Akhtai
Mamanov, chief of amateur-talent group based at Kazkomuna boarding
school in Petropavlovsk (city in northern Kazakhstan). [...]
In the pictures are some contemporary national Kazakh costumes; how can you not love those oodles of fluffiness, ruffles and trumpet sleeves?
In the pictures are some contemporary national Kazakh costumes; how can you not love those oodles of fluffiness, ruffles and trumpet sleeves?
 |
| Performers in traditional Kazakhstan costume |
And some words about the spiritual meaning of the dance from the same document:
Researchers
pay particular attention to initial sacral meaning of Kara-Zhorga,
for the dance was mostly performed during “Shildekhana” ritual
(feast in the name of newborn). Therefore Kara-Zhorga performance is
closely linked with the time of child’s first initiation to the
World, his/her acquaintance with the family and surrounding society.
This period of human life along with the spiritual initiation and
obsequies played most important role in nomadic culture.
Performing
Kara-Zhorga for a newborn child aimed at introducing him/her with
nomadic lifestyle, life on top of a horse. The tempo of the dance is
sought to transmit the nomad’s main attitude to the reality of
life; it sets up principal direction for future life of a newborn –
meaning the way forward despite the obstacles, way of optimism and
mobility. Moreover, performanc e of Kara-Zhorga bears purification and
protective properties for both the child and the audience present.
Appearing as a ritual and spiritual act, Kara-Zhorga gradually
started to inherit characteristics of every day life. Owing to its
deep semantic and symbolic meaning, Kara-Zhorga has been very popular
among people over a long period of time, gradually acquiring new
distinctive properties and styles.
Nowadays, Kara-Zhorga dance
embodies the brightest features of Kazakh people and modern
Kazakhstan, like – courage, vitality, musicality and mobility
harmoniously intertwined with the scenery of beautiful and vast
steppes.
.
The whole thing looks like lots of fun if danced in a group among friends. On a more artistic level Kazakh ethnic dance presents all the finesse of Oriental stage dances with opulent costumes, delicate hand movements and hazardous backbends, as featured it this video by the magical Uighur dancer Dilnar Abdullah:
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