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whose duty is to lead others and warm up them in accordance with dance music rhythms. Other performers should coordinate the movements and body rhythms with the leader. The dance usually starts with Sangin-Samâ rhythm which is performed slowly, following Sepâ (Three steps) the next rhythm with faster performing and soars when vibrant Dopâ (two steps) is performing. After a while, the dance concludes to Sangin-Samâ movements in a reversed trend.
142:. This style is usually performed by both male and female persons and includes different performing styles like Ashtafi-manganâ. Men or women may dance and wave colorful scarves, called dastmâl. A dasmâl is held in each hand. In case of the philosophy, it is believed that these dances have originated in the actions the women do in their daily livelihood. As the dance rhythm increases slowly, each person may chooses patterns to perform.
90:, Se-Pa (three steps) dance that is performed faster than SanguinSama, and Du-Pa (Two steps) dance that is the fastest and the most exciting performance), and the stick dance (Çubâzi or Tarka-bâzi)(like Jitterbug wood) which is a martial show. Harvesting ceremony dances, PaPoshtePa dances, Suwaruna and the mourning dances are of less popular dances. Mourning dances are performed while loved persons are died as
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the toe and finally put it aside right foot. The hands bend from elbow and small fingers of dancers, in line with the shoulders, are tied among each other. It seems that each of the gestures and dance components of Sama, has a philosophy retrieved from thousands years of coexistence with humane and natural elements behind it.
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battles. It is usually dance by two men, although sometimes is performed by the women too. One dancer (the defender) is equipped with a long heavy stick up to four or five feet long. The other (the attacker) whom holds a shorter flexible stick (tarka), has to attack the opponent only below the level
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In Čupi dance continuum, the second phase is Sepâ (three steps) which is performed faster and more dynamic than Sangin-Samâ in accordance with speeding up the music rhythm. Dancers start the dance with the right foot and take three steps forward. In Luri dances, like most
Iranian group dances, the
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Sangin-samâ (also Sangin-sepâ or Samâ) is usually the first phase of Čupi mass dance style and includes gentle and slow movements. Performers, initially put their right foot in the form of a cross with left foot, then take it and take two steps forward. Then they put the left foot with the tip of
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dialects, mass dance styles that are mainly based on leg movements are said Čupi (چووپی, Choupi). Mixed male and female dancers hold hands to form rings, hearing the vibrant musics by musicians, they perform different styles of čupi. The leader performer (Sarčupi or Čupikeš) is a skillful dancer
175:(a horn music instrument), the defender is only allowed to escape the strike by leaping up in the air. The contributors change in turn till the protagonists are specified. The dancers are surrounded by female and male enthusiastic audiences whom cheer the winners by screams and whistles.
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start of the move is with the right foot. After removing the three steps, the dancers first bend the right leg and then the left foot. The dancers' hands in this dance are tied to each other and their shoulders rely on each other. The literal meaning of dance in
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There are many dance styles common in Luri-inhabited areas. The most prevalent Luri dance styles are handkerchief dance, Chupi dances (SanguinSama; slow rhythm along with strike and
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David Brooks, The enemy within: limitations on leadership in the
Bakhtiari, in The Conflict of Tribes and State in Iran and Afghanistan, ed: Richard Tapper, London, 1983, pp 15-18.
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Contenau, G and R. Ghirshman (1935).Fouilles du Tepe Giyan, Paris: Librairie
Orientaliste Paul Geuthner. Contenson, H. de. 1967. Troisieme campagne a Tell
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Due to discovered objects and archeological excavations from Luri-inhabited areas like
Kozagaran, Tepe Giyan, Tepe Musiyan, CheghaMish and
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Meftahi, Ida (2017). Gender and Dance in Modern Iran, Biopolitics on stage. Routledge publication, Volume: 5 Issue: 2, page:13
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and
Cheghamish are the most prominent archaeological evidences showing the value and history of dance in these areas.
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Bakhtiyari Dances, CD Number , Published , Collected & Researched by: Mansureh
Sabetzadeh, available online at:
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Elton Daniel and AliAkbar Mahdi, 2006, Culture and
Customs of Iran, Westport,Greenwood Press, 210 pages
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Elton Daniel and AliAkbar Mahdi, 2006, Culture and
Customs of Iran, Westport,Greenwood Press, 210 pages
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Garfinkel, Y.(2010) Dancing at the Dawn of
Agriculture.University of Texas Publication, 346 pages,
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of the first millennium BC, musicians and musical instruments depicted on the petroglyphs in
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Handkerchief dancers in a wedding ceremony, Mamasani, Iran
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discovered and dance portrays on the bronze flags of
210:(Dasgerta), is the bond between hands when dancing.
154:that is performed in the celebrations and joys by
62:. Motifs depicting three dancing persons on the
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167:of the knee. While the dance is accompanied by
126:Handkerchief dance also known as scarf dance (
150:Ču-bâzi or Chubazi (twig dance) is a special
134:style. This dance style is more common among
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372:"The Philosophy Behind the Luri Samâ dance"
26:popular among different groups of Iran's
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16:Iranian folk dances of Lur people
114:Dasmâl-bâzi (Handkerchief dance)
337:گژک, تارنمای اینترنتی تبار لر.
30:. They usually include common
376:Goftare Mâ, Information Agency
284:"Dances of Iran, Robyn Friend"
42:), and the colorful clothing.
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286:. Neil Siegel. Archived from
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130::Dasmâl-bâzi) is a vibrant
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370:Mortezai Darikvand, Ali.
359:"انواع رقصهای لری »
34:; Collective dances and
252:, Available online at:
162:and is inspired by the
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58:migrations inward the
348:. (۱۰ اردیبهشت ۱۳۹۴ )
290:on September 27, 2010
282:Siegel, Neil (2000).
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146:Ču-bâzi (Twig dance)
357:پایگاه خبری گلونی.
22:include a range of
344:2017-06-10 at the
339:"رقص لری (چوپی)".»
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395:Asian folk dances
361:. (۲۳ مرداد ۱۳۹۵)
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152:dance double
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132:circle dance
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40:circle dance
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294:October 17,
192:Sangin-Samâ
72:Kul-e Farah
52:Kul-e Farah
24:folk dances
20:Luri dances
389:Categories
214:References
104:Bakhtiries
92:Chamariuna
156:Bakhtiari
100:Great Lur
36:quadrille
342:Archived
158:and the
106:and the
102:tribes (
68:Luristan
64:pottery
46:History
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164:heroic
96:Feylis
94:among
88:fiddle
82:Styles
173:karnâ
56:Aryan
296:2014
246:ISBN
208:Luri
201:Sepâ
185:Luri
171:and
169:drum
138:and
128:Luri
76:Izeh
28:Lurs
183:In
110:).
74:of
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