Հայոց պարային մշակոյթը Ի. դարի հայկական գեղարուեստական եւ վաւերագրական ֆիլմերում
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Date
2016
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Armenian cinematography was started by Hamo Beknazaryan, who launched the «Hayfilm» studio. He shot the first Armenian silent feature film, "Namus" (1925), as well as the first Armenian sound films "Pepo" (1935) and "Zangezur" (1937).
As a film director and patriot, Beknazaryan included dance episodes in his films. These episodes were intended to reflect the local lifestyle rather than add an artistic feature to the film. Other Armenian filmmakers, like Henrik Malyan, Arman Manaryan, Jirayr Avetisyan, Frunze Dovlatyan, Edmond Keosayan, Artavazd Peleshyan, and Ara Vahuni, maintained this tradition.
The article analyses the dances featured in these films as well as in those created in later decades like "Yerankyuni" (Triangle), "Heghnar aghbur" (The Spring Named Heghnar), "Dzori Miron" (Miro of the Valley), "Menavor enkuzenin" (The Lonely Walnut Tree), "Tghamardik" (The Males), "Tarva Yeghanaknere" (The Seasons of the Year), and "Kanch" (The Call), as well as in other Soviet Armenian documentaries, which are rich in Armenian traditional ritual dances as well as holiday and multiform (round, couple, and single) dances. Some of the films include non-Armenian dances too.
The dances in the films are classified as single dances (Uzundara, Mirzeyi, Artsvapar), couple dances (Shalakho), round dances (Taltala, Yar Khushta, Khochari, Ververi, Gorani), ritual round dances of men, and wedding dances.
The article explains the function of these dances and their meaning when danced at wedding ceremonies, celebrations, or other occasions.
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Շամամեան, Ն., «Հայոց պարային մշակոյթը Ի. դարի հայկական գեղարուեստական եւ վաւերագրական ֆիլմերում», «Հայկազեան հայագիտական հանդէս», 2016, Պէյրութ, էջ 445-464