SOUL
in
DANCE
SOUL
in
DANCE
This phrase, spoken by the choreographer and founder of the ensemble, has long since become iconic.
The photo project is dedicated to the dances choreographed by Faizi Gaskarov.
The project was conceived and brought to life together with the Faizi Gaskarov State Academic
Folk Dance Ensemble, with the support of the Bashkortostan Film Studio.
The first photo exhibition was held at the Kremlin, where the ensemble, for the first time in its history,
performed a solo concert on the country’s main stage.
From the memoirs of Faizi Gaskarov, inspired by an ethnographic expedition during which he observed
the expressive movements of a Bashkir woman. These impressions became the basis
of the dance "The Mischievous Girls".
"The Mischievous Girls" is one of Faizi Gaskarov’s earliest works — a symbolic dance and one of the ensemble’s signature pieces, featured in its emblem.
The legend dates back to ancient times, when Bashkirs and Kazakhs raided each other’s lands, stealing horses and abducting young women. On one such raid, seven sisters were taken captive. To prevent their escape, their captors cut their feet and rubbed finely chopped horsehair into the wounds. Yet one night the sisters managed to flee.
The pursuit was swift: the riders soon overtook the fleeing beauties.
Faizi Gaskarov first presented the dance "Seven Girls" on the professional stage in 1941. The choreography embodies the national character of the Bashkir woman: restrained, modest, and gentle. The dancers move softly, without sharp or sweeping gestures, with straight posture, proudly raised heads, and lowered eyes.
Each figure is performed in perfect unison.
Today "Seven Girls" remains one of the core works in the repertoire of the Faizi Gaskarov Folk Dance Ensemble.
A Bashkir dance titled "Seven Beauties" is also featured in the repertoire of the Igor Moiseyev State Academic
Folk Dance Ensemble.
It was there, on the battlefield, that the dance "Three Brothers" was born. Faizi observed how older soldiers — bandaged and limping — and eager young fighters staged a playful dance contest.
“Ös tağan" means a tripod. A tripod rests on three iron supports, just as the world rests on three whales. Human life, too, rests on three generations: the old, the mature, and the young. Each carries its own foundation of life — wisdom, strength, and daring,” - Faizi Gaskarov said of his new dance.
"Three Brothers" is a dance-metaphor of the three stages of life: spirited youth, the strength and steadiness
of manhood, and the wisdom of old age. It is a dance about the great power of brotherhood, where brothers respect one another, yet each can playfully tease the others. The dance entered the golden treasury of Bashkir choreography and became a classic.
Tarkhans were respected figures — heads of Bashkir clans who held authority and influence. In the ensemble’s dance, they are represented as a generalized image of the tarkhans: heroes, defenders of the people. Female costumes feature the majestic "kalyapush" headdress. A single original example is preserved at the Russian Ethnographic Museum in St. Petersburg. It is mentioned in the mid-19th century monograph "The Bashkirs"
by archaeologist and anthropologist Sergey Rudenko.
| A graceful girl ran onto the stage, her head wrapped up to her eyebrows in a scarf. She floated, spun, twirled, and leaped across the stage rolling like a tumbleweed moving so swiftly that it seemed her own feet could not keep up with her. In the final dizzying turns, the scarf slipped from the dancer’s head, and her dress fell! The audience, frozen in astonishment, held a brief, shy silence — then erupted into thunderous applause, cheerful laughter, and shouts of ‘Bravo!’ Before them stood a very young boy, grinning from ear to ear, radiant with the joy of his success. This was Faizi Gaskarov. In 1927, during a concert of the Bashkir State Drama Theater in Moscow, 14-year-old Faizi Gaskarov, a student in the theater’s orchestra and dance ensemble, performed a Bashkir folk women’s dance "Muglifa", choreographed by himself. This dance would later become the prototype for his future work "Zagida". In the dance, there would be a greater emphasis on the plasticity of the arms and other choreographic elements, forming the foundational technique of Bashkir women’s dance. A Bashkir girl can perform a solo dance using only the movements of her arms. "The key is soft, flowing hands,” - choreographers emphasize. The dance would truly become the calling card of the Faizi Gaskarov State Academic Folk Dance Ensemble, touring nearly the entire world and receiving numerous international awards. "Zagida" continues to remain the benchmark of Bashkir solo women’s dance. |
| A graceful girl ran onto the stage, her head wrapped up to her eyebrows in a scarf. She floated, spun, twirled, and leaped across the stage rolling like a tumbleweed moving so swiftly that it seemed her own feet could not keep up with her. In the final dizzying turns, the scarf slipped from the dancer’s head, and her dress fell! The audience, frozen in astonishment, held a brief, shy silence — then erupted into thunderous applause, cheerful laughter, and shouts of ‘Bravo!’ Before them stood a very young boy, grinning from ear to ear, radiant with the joy of his success. This was Faizi Gaskarov. In 1927, during a concert of the Bashkir State Drama Theater in Moscow, 14-year-old Faizi Gaskarov, a student in the theater’s orchestra and dance ensemble, performed a Bashkir folk women’s dance "Muglifa", choreographed by himself. This dance would later become the prototype for his future work "Zagida". In the dance, there would be a greater emphasis on the plasticity of the arms and other choreographic elements, forming the foundational technique of Bashkir women’s dance. A Bashkir girl can perform a solo dance using only the movements of her arms. "The key is soft, flowing hands,” - choreographers emphasize. The dance would truly become the calling card of the Faizi Gaskarov State Academic Folk Dance Ensemble, touring nearly the entire world and receiving numerous international awards. "Zagida" continues to remain the benchmark of Bashkir solo women’s dance. |
of Bashkir lyrical dance.
| “Bashkir horsemen fought bravely. They rode into the most dangerous parts of the battle "at full speed on their small horses",” - recalled Baron de Marbo about the Russo-Prussian-French War of 1806–1807. The courageous riders troubled Napoleon and his army. The Bashkirs’ simple weapons provoked laughter at first, but when arrows rained down on the enemy, mockery quickly turned into fear and respect. The French nicknamed the Bashkirs “Northern Amurs” for their exceptional skill with bow and arrow. Serving in the army’s cavalry, the Bashkirs assisted Russian troops in driving the French out of Hamburg, Erfurt, Berlin, Weimar, Frankfurt am Main, and triumphantly entered Paris. Faizi Gaskarov could not ignore such a pivotal chapter in the history of the Bashkir people and created the heroic-romantic suite “Northern Amurs.” Music was composed by Zagir Ismagilov, and together with Boris Torik, Faizi Adagamovich spent a whole year searching for the silhouette that would become iconic: a flying male figure crowned with voluminous furs, with a bright, flowing zelyan trailing from his shoulders. Boris Yakovlevich wrote: “Art is not a local history museum: the main goal is to create a national character. It is no coincidence that this idealized type of jigit became so beloved that since then, kurai players, singers, and dancers have appeared on stage wearing these hats and "zelyan" draped over their shoulders, like a Chapaev-style coat — in true Gaskarov fashion.” Those very fox-fur hats with two tails actually originated in the dance “Northern Amurs.” Gaskarov wrote about it: “It was necessary to create a headdress that would emphasize the movements of the Bashkir jigit and convey the sense of forward motion. And so appeared a hat with two long tails and a pointed top… In designing this hat for the piece, I never imagined that the Bashkir people would embrace it as their own. Yet they did, believing it had existed for centuries. Alas, that is not true. Nevertheless, the hat took root.” Thus is the story of the dance “Northern Amurs,” steeped in legends and mystery — both at the beginning of the 19th century and more than two centuries later. |
| “Bashkir horsemen fought bravely. They rode into the most dangerous parts of the battle "at full speed on their small horses",” - recalled Baron de Marbo about the Russo-Prussian-French War of 1806–1807. The courageous riders troubled Napoleon and his army. The Bashkirs’ simple weapons provoked laughter at first, but when arrows rained down on the enemy, mockery quickly turned into fear and respect. The French nicknamed the Bashkirs “Northern Amurs” for their exceptional skill with bow and arrow. Serving in the army’s cavalry, the Bashkirs assisted Russian troops in driving the French out of Hamburg, Erfurt, Berlin, Weimar, Frankfurt am Main, and triumphantly entered Paris. Faizi Gaskarov could not ignore such a pivotal chapter in the history of the Bashkir people and created the heroic-romantic suite “Northern Amurs.” Music was composed by Zagir Ismagilov, and together with Boris Torik, Faizi Adagamovich spent a whole year searching for the silhouette that would become iconic: a flying male figure crowned with voluminous furs, with a bright, flowing zelyan trailing from his shoulders. Boris Yakovlevich wrote: “Art is not a local history museum: the main goal is to create a national character. It is no coincidence that this idealized type of jigit became so beloved that since then, kurai players, singers, and dancers have appeared on stage wearing these hats and "zelyan" draped over their shoulders, like a Chapaev-style coat — in true Gaskarov fashion.” Those very fox-fur hats with two tails actually originated in the dance “Northern Amurs.” Gaskarov wrote about it: “It was necessary to create a headdress that would emphasize the movements of the Bashkir jigit and convey the sense of forward motion. And so appeared a hat with two long tails and a pointed top… In designing this hat for the piece, I never imagined that the Bashkir people would embrace it as their own. Yet they did, believing it had existed for centuries. Alas, that is not true. Nevertheless, the hat took root.” Thus is the story of the dance “Northern Amurs,” steeped in legends and mystery — both at the beginning of the 19th century and more than two centuries later. |
“Blooming Kurai” is a tribute to the native land and to the friendship of peoples. Seven girls, like petals, reveal the beauty of the kurai flower — a national symbol of the republic. The seven petals represent
the seven ancient Bashkir tribes, each with its own history, traditions, beliefs, and tamga. Each dancer has her own solo part, conveying the multifaceted world of the Bashkirs:
their stories, culture, and nature.
The premiere of the composition “Blooming Kurai” took place on the Day of the Republic
of Bashkortostan, with choreography by Khashim Mustaev. The staging process was meticulous:
the dance combines elements of classical ballet, folk dance, and contemporary choreography.
The production, close to classical ballet, requires the dancers not only to demonstrate flawless technique and physical form, but also a subtle emotional expression. Light, flowing costumes and specially designed footwear — tall, soft boots — allow the performers to fully immerse themselves in the dance, feeling every movement.
“Zarifa” is the very first dance of the Bashkir ensemble. Its premiere on the big stage took place on March 20, 1939,
in honor of the 20th anniversary of the formation of the Bashkir Autonomous Soviet Socialist Republic.
The idea for the choreography was conceived by Faizi Gaskarov during his return from Moscow to Ufa, where he began forming a dance collective in the Bashkir ASSR. The dance was intended to incorporate movements characteristic of Bashkir folk dance while also reflecting elements of everyday life.
“Zarifa” tells the story of two young hearts, unfolding against the backdrop of Bashkir youth games on a summer evening, known as “kiske oyun” (evening games). The melody “qysqa koy” (energetic music), which forms the basis
of the dance, was first recorded by ethnographer and local historian Sergey Rybakov in 1894, inspired by a song composed by a dancer named Zarifa.
The dance also reflects ancient layers of Bashkir culture: girls’ circle dances and linear formations
of young men carried both practical and sacred significance, fostering a “sense of camaraderie”
while embodying symbolic meaning. To this day, this dance vocabulary serves as a model
for Bashkir choreography.
In the photography, one movement of the dance is visualized, where a young man helps a girl wind
a ball of yarn. The threads symbolize the bonds of love and fate, while the yarn encircling
them represents clouds of love.
The traditional Bashkir bucket dance is one of Faizi Gaskarov’s iconic works, reflecting the life and traditions of the Bashkir people. Based on real scenes of women fetching water, the girls carry buckets but transform the task
into dance, sharing conversations and thoughts about life.
Gaskarov reveals beauty in the everyday, turning simple gestures — graceful hands, finger snaps, shoulder movements — into art. The dance symbolizes purity, independence, the charm of daily life, and courage in the face of challenges. It is a vivid example of Gaskarov’s talent for transforming ordinary moments into expressive,
meaningful art.
Өндә түгел, төштә күрҙем уны:
яҙғы таңдың һыҙылып атҡанын,
көмөш сынйыр булып, теҙелешеп,
ҡыр ҡаҙҙары осоп ҡайтҡанын.
I saw it not in waking light, but in a dream so fair:
The springtime dawn stretched out, so bright,
Like silver threads aligned with care,
And wild geese flying home through air.
“Wild Geese” is not just a dance, but a dance poem. It was choreographed by Faya Gareeva,
artistic director of the Faizi Gaskarov Ensemble, based on the poem “Wild Geese” by Rafael Safin.
The wild geese represent the souls of soldiers who gave their lives for their homeland, returning once a year
in dreams to their loved ones in the form of birds. For the photographic project, we created a surrealistic image: depicting these souls breaking through fabric — the fabric of time, the fabric of reality.
The dance was staged in honor of the 40th anniversary of Victory.
| “Copper Heel” is not just a dance, but a powerful statement in the language of the body — a true breakthrough in Bashkir choreography. Choreographed in the 1990s by Rif Gabitov, it became a new milestone in the understanding of male folk dance: strong and precise, yet at the same time profound, filled with inner poetry. Gabitov approached the choreography as both a researcher and an artist. His interest in Bashkir folklore, ethnography, and poetry formed the foundation of his creative philosophy. “I studied history, folklore… and I still draw ideas and images from it,” he says. These images became movement. Each strike of the heel is like a response of time, a call of the earth, and the rhythm of the heart. “Copper Heel” is a hymn to dignity and memory, echoing the voice of the people. Here, male strength is not merely physical — it is in endurance, restraint, and nobility. About this dance, Ekaterina Nikolaevna Varlamova said: “Gabitov revolutionized Bashkir male dance.” The choreographer reconstructed traditional elements, gave them new dramaturgy, and revealed male choreography from an unexpected perspective — fluid, symbolic, and almost musical. He breathed new life into the folk stage, not destroying it, but reinterpreting it. Today, “Copper Heel” is already a classic. Yet it remains a living classic: a dance that continues to resonate and evolve, just as the culture from which it grew. |
| “Copper Heel” is not just a dance, but a powerful statement in the language of the body — a true breakthrough in Bashkir choreography. Choreographed in the 1990s by Rif Gabitov, it became a new milestone in the understanding of male folk dance: strong and precise, yet at the same time profound, filled with inner poetry. Gabitov approached the choreography as both a researcher and an artist. His interest in Bashkir folklore, ethnography, and poetry formed the foundation of his creative philosophy. “I studied history, folklore… and I still draw ideas and images from it,” - he says. The choreographer reconstructed traditional elements, gave them new dramaturgy, and revealed male choreography from an unexpected perspective — fluid, symbolic, and almost musical. He breathed new life into the folk stage, not destroying it, but reinterpreting it. Ekaterina Nikolaevna Varlamova said: “Gabitov revolutionized Bashkir male dance.” Today “Copper Heel” is already a classic. Yet it remains a living classic: a dance that continues to resonate and evolve, just as the culture from which it grew. |
“Burzyanochka” is a dance where the soul of the people comes alive. Born from everyday village life —
gathering berries, joking, meeting, and socializing — it gained new life on stage, becoming a symbol of joy, lightness, and cultural memory.
“Burzyanochka” was among the first restored folk dances, part of a period when artists and choreographers worked to revive folklore on stage. “We do not just take a movement, we hear the voice of the people behind it,”-
said Faizi Gaskarov.
Originally performed by a single dancer, the choreography later expanded to three. In our photographic interpretation, we highlighted this fact: two silhouettes are created by the shadows cast by the main dancer.
We hung black velvet curtains and transformed them into cliffs, with a blood-red sunset in the background
to emphasize the intensity of the moment. For centuries, the Bashkirs have used birds of prey for hunting,
with golden eagles prized for their strength and ability to catch large game. Training and raising an eagle
was considered an art in itself.
The Bashkir dance “Hunting the Eagle”, choreographed by Ildus Khabirov, is based on these hunting traditions.
The dancers’ movements imitate tracking, capturing, and training the eagle, portraying the interaction between humans and birds of prey. The piece not only reflects historical practice but also preserves and transmits
the cultural heritage of the Bashkir people.