The Role of the Individual and the Collective Aspects in the Formation of the Genre of the Adyghes’ Heroic-Historical Song
Abstract
In the present article for the first time the attempt is made of comprehending the origins of the epic, historic, and heroic genres of folklore, which present a guiding line of Adyghe folk song and have a direct relation to the aristocratic stratum of society. The object of the research is formed by the narrative of the Adyghes’ folk song repertoire, while the subject of study is presented by the phenomenology of their social origins and certain aspects of their communication. For the sake of argumentation, analogous phenomena in other national cultures (the Polish, Japanese, and Russian) are cited. An important factor of digression from the customary collective form of emergence of the songs of the Adyghes (Circassians) is expressed by the character of the social ladder of those communities wherein the etiquette of nobility predominates. The active bearers of folk music artistry in most cases created their music individually, so it becomes possible to speak of the collective character of the emergence of heroic-historical songs only when 2–7 dzheguako (professional singers) took part in the act of artistic creation. Thereby, the phenomenon of folk music in the Adyghe traditional culture brings the personal aspect to the forefront. For the first time, the new term of “collective personality” is brought into Adyghe folk music studies.
Keywords: noble class, uorks, Vsevolod Miller, elite folklore genre, Uork Habze, social institution of the dzheguako, collective personality
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DOI: http://dx.doi.org/10.56620/RM.2025.4.026-038
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