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Rusya Premier Ligi'nin 29. haftasında Şampiyonlar Ligi'ndeki temsilcimiz Trabzonspor'un rakiplerinden olan CSKA Moskova, Spartak Nalchik ile karşılaştı. Arena Khimki Stadı'nda oynanan mücadelede CSKA Moskova, golcü oyuncularından Vagner Love ve Seydou Doumbia'nın golleriyle 3 puanı kazanıp Zenit'i takibini sürdürdü.<br /><br /><br /> ...daha fazlası için http://www.sporx.com/tv/

3-1 Lorenzo Melgarejo Goal Russia Kubok Round 6 - 25.10.2017 Spartak Moscow 3-1 Spartak Nalchik

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An excellent documentary about the Circassian history in Egypt.

Circassian Voiceover

A clip I did for a project that was presented for a research project on circassian genocide. enjoy

Circassian Genocide Memorial Day - Reihaniya 2018

This is an audio version of the Wikipedia Article:
Circassian beauties


00:03:27 1 Literary allusions
00:05:38 2 Circassian features
00:12:20 2.1 Pseudoscientific explanations for the extreme white skin
00:14:14 3 Pseudoscientific racialist theories
00:18:16 4 Advertising of beauty products
00:21:11 5 Nineteenth-century sideshow attraction
00:23:47 6 In popular culture
00:24:14 7 See also



Listening is a more natural way of learning, when compared to reading. Written language only began at around 3200 BC, but spoken language has existed long ago.

Learning by listening is a great way to:
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https://www.youtube.com/channe....l/UCuKfABj2eGyjH3ntP

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"The only true wisdom is in knowing you know nothing."
- Socrates



SUMMARY
=======
Circassian beauties is a phrase used to refer to an idealized image of the women of the Circassian people of the Northwestern Caucasus. A fairly extensive literary history suggests that Circassian women were thought to be unusually beautiful, spirited, and elegant, and as such were desirable as concubines.
This reputation dates back to the Late Middle Ages, when the Circassian coast was frequented by traders from Genoa, and the founder of the Medici dynasty, Cosimo de' Medici, had an illegitimate son from a Circassian slave. During the Ottoman Empire and Persian Safavid and Qajar dynasties, Circassian women living as slaves in the Sultan's Imperial Harem and Shah's harems started to build their reputation as extremely beautiful and genteel, which then became a common trope in Western Orientalism.As a result of this reputation, in Europe and America Circassians were often characterised as ideals of feminine beauty in poetry and art. Cosmetic products were advertised, from the 18th century on, using the word "Circassian" in the title, or claiming that the product was based on substances used by the women of Circassia.
In consequence, most wives of several Ottoman Sultans were ethnic Circassians converted to Islam, e.g. Valide Sultans (Empress mothers), including Perestü Valide Sultan, Pertevniyal Valide Sultan, Şevkefza Valide Sultan, Tirimüjgan Valide Sultan, Nükhetseza Başhanımefendi, other important Hatuns (Ladies) and Sultans like Şemsiruhsar Hatun and Saçbağlı Sultan, Haseki sultans (chief consorts) such as Mahidevran Haseki Sultan, Hümaşah Haseki Sultan, Hatice Muazzez Haseki Sultan, and Ayşe Haseki Sultan besides numerous Başkadınefendis (most senior consorts), including Bedrifelek I, Bidar II, Kamures I, and Servetseza I as well as Kadınefendis (senior consorts) such as Bezmara VI, Düzdidil III, Hayranıdil II, Meyliservet IV, Mihrengiz II, Neşerek III, Nurefsun II, Reftaridil II, Şayan III, amongst many others, or İkbals (honoured lady consorts), most notable of them being Cevherriz II, Ceylanyar II, Dilfirib I, Nalanıdil III, and Nergis IV in addition to Gözdes (favourite lady consorts), including Dürdane I, Hüsnicenan III, Safderun IV, amongst others. The "golden age" of the Circassian beauty may be considered to be between the 1770s, when the Russian Empire seized the Crimean Khanate and cut off their slave trade in Eastern European women, which increased the demand for Circassian women in Near Eastern harems; and the 1860s, when the Russians destroyed Circassia itself.
In the 1860s the showman P. T. Barnum exhibited women who he claimed were Circassian beauties. They wore a distinctive curly, big hair style, which had no precedent in earlier portrayals of Circassians, but which was soon copied by other female performers in the United States, who became known as "moss-haired girls". This hair style was a sort of a exhibit's trademark and was achieved by washing the hair of women in beer, drying it and then teasing it. It is not clear why Barnum chose this hairstyle. It may have been a reference to the Circassian fur hat, rather than the hair.
There were also several classical Turkish music pieces and poems that praise the beauty of the "Lepiska Saçlı Çerkes" (Straight, flaxen-haired Circassian; "lepiska" refers to long blonde hair which is soft and straight, as if flatironed).

“The Circassian Cavaliers of the Caucasus”

A French film by Jean Paul Blondeau. Presented by Jean Bertho. subtitled in English by the Centre for Circassian Studies.

The mountain pastures where the famous Kabardian horses and intrepid Circassian horsemen share a free, yet very harsh, existence – the life of the “Cavaliers of the Caucasus”.

We expect to be endlessly surprised by the equine exploits of the cavaliers of the Caucasus…

For the peoples of the Caucasus, song and dance are a gift from Heaven…

Utterly exotic and stunning…

They live the life of herder cavaliers in all its aspects…

“The Kabardian Horse”

These horses are world-famous for their beauty, hardiness, and the surety of their feet on treacherous mountainous terrain.

They live in an extensive area of 20,000 hectares (200 km²) – a domain which sharply varies from 300 to almost six thousand metres in height. This is a vast dominion of lofty mountains, precipitous hills and gorges, and plateaus, all teaming with precipitous mountain streams and thunderous waterfalls...

the Etiquette are referred to the golden age
of the Narts.
film The Twilight Hopes.made Lenfilm by R.Khachemizov.(Nart Marriage)

Da tempo volevo insegnare questa danza a lezione, dovendo aspettare ancora a lungo prima di poterlo fare ho approfittato della reclusione per danzarla in prima persona. Il Circassian Circle è una danza tradizionale che si trova in molti manuali dell'Ottocento. Le varianti sono molteplici ma si assomigliano tutte. In particolare mi affascina questa versione, descritta dal Maestro Thomas Hillgrove nel suo manuale pubblicato a New York nel 1857. Curiosamente nella riedizione del medesimo manuale dell'anno successivo questa danza è stata eliminata.
La particolarità di questo manuale rispetto agli altri è che dà la descrizione precisa di dieci diverse sequenze (dieci! esatto) che chiama "figure". Quindi ci siamo divertiti a farle tutte quante, una dietro all'altra.
Ho fatto la scelta di danzarla "alla scozzese" quindi con la tecnica di passi e figure della RSCDS: anche se probabilmente non è la scelta storicamente più esatta, è sicuramente quella che preferisco stilisticamente; ballare il Circassian con una musica francese o camminando sono entrambe ozpioni deprimenti...
Ovviamente essendo solo due coppie nella progressione abbiamo dovuto aggiungere una curva per poterci nuovamente fronteggiare: l'originale prevederebbe di proseguire dritto incontrando la coppia successiva.
Infine notare come la versione ufficiale dell'RSCDS (il Circassian è la terza danza che l'RSCDS ha pubblicato, dopo Petronella e Triumph, quindi anche l'RSCDS ha attribuito a questa danza grande valore tradizionale) ha come progressione la Poussette, che non è presente in nessuna di queste 10 sequenze!

#maledettovirustisconfiggeremo

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Since long time I wanted to teach this dance in class, having to wait a lot before I could do it, I took advantage of the lockdown to dance it in first person. Circassian Circle is a traditional dance present in many 19th century dance manuals. The variations are many but they all look similar. In particular I am fascinated by this version, described by M° Thomas Hillgrove in his manual published in 1857 in New York. Curiously in the re-edition of the same manual of the following year this dance has been eliminated.
The peculiarity of this manual compared to the others is that it gives an exact description of ten different sequences (ten! Exactly) that he call "figures". So we had fun doing them all, one behind the other.
I made the choice to dance in "Scottish way" with the RSCDS technique for steps and formations: although it is probably not the most historically exact choice, it is certainly the one I prefer stylistically; dancing the Circassian with French music or walking it are both depressing.
Obviously being only two couples in the progression we had to add a curve to face each other again: the original says to continue forward to meet a new couple.
Finally note how the official version of the RSCDS (the Circassian is the third dance that the RSCDS has published, after Petronella and Triumph, therefore the RSCDS itself has attributed it great tradition) has the Poussette as progression, which is not present in any of these 10 sequences!

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