Archaeology, Ethnology & Anthropology of Eurasia 38 (4) 2010

Annotation:  Three Scenarios of the Middle to Upper Paleolithic Transition. Scenario 1: The Middle to Upper Paleo Kalavan-2 (North of Lake Sevan, Armenia): A New Late Middle Paleolithic Site in the Lesser Caucasus The Role of Science-Based Methods in the Study of Ancient Pottery as a Source of Historical Informa Physical and Chemical Properties of Ceramics from the Chronologically Transitional (Late Bronze – E The Utinka Burial Peat-Bog Sites in the Eastern Urals The Origin and Development of the Wucheng Culture (in the Context of Intercultural Contacts between Circle Dance Festival “Gorka”: Traditions and Innovations The Open Letters of Sergei Borisov: From the History of Photography in the Altai The Origins of the Andronovo (Fedorovka) Population of Southwestern Siberia, Based on a Middle Bron Models of Man’s Biosocial Adaptation in an Industrial Society   

Circle Dance Festival “Gorka”: Traditions and Innovations

T.I. Dronova.

The circle dance festival “gorka” is one of the oldest Russian rituals of the spring and summer cycle, preserved by the Priestless Old Believers (Pomortsy) living in the Ust-Tsilma Region of the Komi Republic. This ritual activity requires the performance of seven dance fi gures or moves. Particular songs that are called “gorka songs,” correspond to each of the fi gures. In the past, the symbolism of the circle dance was linked to the renewal of life. The transition of adolescents to adulthood was arranged in ritual form; dramatized songs helped young people to fi nd potential marriage partners and to approve couples that had been formed earlier. The modern festival is held as a tribute to the ancestors. A recent innovation can be seen in the children’s “gorka” and the inclusion of children into a single circle dance.

Keywords: “Gorka,” ritual, circle dance, costume, tradition, Old Believers.