The Evolution of Azerbaijani Dance in the Study of Afag Husseinova: A Practical Guide for a Quick Immersion in the Subject

This article analyses Afag Husseinova’s book “The Evolution of Azerbaijani Dance,” which represents a substantial contribution to the field of study. The research encompasses the origins, historical evolution, and contemporary practices of Azerbaijani dance art. Assessing the impact of this work on the choreology of Azerbaijan necessitated not only a content analysis of the book but also an examination of the context, including a review of scholarly sources on this and related topics accessible to contemporary researchers. An expeditious examination of the historiography of Azerbaijani dance disclosed a lack of comprehensive research in this domain, thereby highlighting the significance of A. Husseinova’s contributions.The book delineates the history of Azerbaijani dance into three distinct periods: prehistoric, mediaeval, and modern. The analytical sources comprise petroglyphs, medieval manuscripts, miniatures, and contemporary ethnochoreological data. The author delineates the relationship between traditional dance forms and contemporary Azerbaijani ballet. A. Husseinova meticulously analyses the origins of Azerbaijani dance, encompassing folklore traditions, mugham, the art of ashugs, and the impact of Russian and Western ballet schools. She examines the progression of the yalli circle dance from the Paleolithic Gobustan petroglyphs to contemporary ballet performances. Special emphasis is placed on the impact of medieval miniatures as a source for understanding the evolution of dance traditions. The study categorizes folk dances and emphasizes their ritualistic, matrimonial, quotidian, and additional roles. The primary benefit of the book is its linguistic accessibility and concise presentation, enabling rapid immersion in the subject matter. Critical comments and suggestions include the lack of appendices containing a glossary of terms, a bibliography of Azerbaijani dance, and a list of the most significant figures. Furthermore, should the author intend to produce an expanded edition, the book could be supplemented with multimedia materials under contemporary circumstances. A. Husseinova’s book makes a substantial contribution to Azerbaijani choreology by revealing the principal facets of country’s choreography and dance art. The publication will serve as a pedagogical resource for student choreographers and musicians, as well as for scholars engaged in cross-cultural and interdisciplinary research. It facilitates the dissemination and comprehensive examination of Azerbaijani dance as a distinctive phenomenon within global art.