How to dance r and b

Dancing to R&B Music - West Coast Swing Online

February 4, 2022October 2, 2018 by West Coast Swing Online

If you want to dance to a relaxed, groovy rhythm & blues song, it would be hard to find a dance better suited than west coast swing. This post will help you feel the rhythm in your own dancing.

As always, remember that these suggestions should not override your basics—they are styling choices and should be treated accordingly.

When you dance to R&B, keep in mind that contrast is key. You want to have contrast in all of your dancing, but it’s particularly important when dancing to R&B music because the genre tends to blend smooth and hiphop already, so your dancing needs to acknowledge that mix.

Mix up staccato and legato styling. If you’re in a legato section, find ways to hit staccato accents (such as tap steps, isolations, and freezes). In a staccato section, listen for moments that flow, and use rondes, body rolls, and fluid movements to bring those sounds out.
Soften your isolations. Hiphop has lots of sharp hits and correspondingly large isolations. R&B is more subtle; you want to include those isolations, but take them down in both size and frequency.
Relax the slot. An elongated, wider slot brings out the relaxed and flowing quality of R&B music.
Use blues footwork. R&B’s blues heritage comes through in a lot of instrumental rhythms, and your blues footwork variations and syncopations are great tools to show this ancestry.
…But keep the footwork quiet. In blues music, the rhythm is often the focus of the song. In R&B, it tends to back up the vocals or the melody. Keep your footwork smaller and closer to the ground (for instance, with a hold-ball change rather than a kick-ball change) in order to show that difference.
Use distance to change the volume. Contrast between the louder choruses and the quieter verses can be shown by shortening the distance between the partners during quieter sections and opening up the dance during louder sections.
Within phrases, height changes can show volume. Lots of R&B music has volume changes within the phrase as well, and the height of your dance can change to reflect that quality. For some styling options check out this page
Play within patterns or by extending patterns. Setting up large hits with patterns is too much for the relaxed sound of most R&B. Instead, use the middle of the pattern to shape within your basics, or groove at the end of the slot while waiting for the next phrase to begin.
Use lyrical elements when appropriate. While R&B is not as free-flowing as an acoustic cover, it has a similar character. Taking your lyrical stylings such as arms and rondes and making them a little more subtle can often fit the music well.

Jump to the next style of music:

Dancing to Blues Music
Dancing to Lyrical Music
Dancing to Top 40’s Music

Return to: West Coast Swing Musicality – 4 Styles of Music

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Top 40 R&B First Dance Songs To Share Your Love For Each Other

R&B music is known for its soulful and meaningful songs. This is why R&B songs make great first dance songs as well. Contemporary R&B is a combination of rhythm and blues, funk, soul, hip hop, pop, and dance.

If R&B is your favorite style of music, celebrate your first dance as a married couple with an R&B song.

R&B songs make great first dance songs as they typically are full of expression of love and soulful singing. We feature artists of the past and present to give a wide range of choices.

My Wedding Songs is a reader-supported website. As an Amazon Associate, we earn revenue from qualifying purchases. Song downloads are provided for DJs and couples to support music artists.

Brian McKnight – Nobody
2020

I’ll hold
Nobody’s hand but yours
You can believe for sure
I’ll be nobody’s man but yours, baby

Ledisi & PJ Morton – Anything For You (The Duet)
2020

I will do anything for you, you
You are my life, one means us two
Anything, anything for you

Will Downing – One in a Million
2020

A one in a million, chance of a lifetime
And life showed compassion.
And sent to me a stroke of love called you
A one in a million you

Pink Sweat$ – 17
2020

You’re something like an angel
You’ll do something to my mind
I can see a thousand years
When I’m lookin’ in your eyes

Rahsaan Patterson – Sent From Heaven
2019

Thoughts of you rise like the sun, and
My days are much brighter
Because you’re sent from heaven

Snoh Aalegra – Find Someone Like You
2019

I’ve been waitin’ my whole life, to find someone like you
Find someone like you

Johnny Gill and Ralph Tresvant – Perfect
2019

Look how you shining
Girl you a diamond
You know you’re priceless
You know you got that slow glow
I see your halo
In case you don’t know

Derran Day – My Word
2018

Cross every star
Swim the ocean so far
Just to get to you
I’ll be there for you

John Legend – All Of Me
2013

I’ll give my all to you
You’re my end and my beginning
Even when I lose I’m winning
‘Cause I give you all of me
And you give me all of you

Boyz II Men featuring Charlie Wilson – More Than You’ll Ever Know
2011

No I can’t imagine not having you by my side
Everything you are and all you do
I’m still in love with you

KEM – Share My Life
2010

You’re my dream and my joy
My heart belongs to you girl
So I sat down one day and I wrote this song
Cause I need you, in my world

Ruben Studdard – Together
2009

I’m gonna be the one that’s gonna last
And be the one that got your back
Ain’t nothing never that bad that we won’t be together

Alicia Keys – No One
2007

You and me together
Through the days and nights
I don’t worry ’cause
Everything’s gonna be alright

Gerald Levert – Made To Love Ya
2001

My time, to spend with you forever
My life, together I was made
Made to love you

Jaheim – Forever
2001

Forever
The love I have for you will last
Forever
Loving you always

Eric Benet – Spend My Life With You
2000

Can I just see you every morning when
I open my eyes
Can I just feel your heart beating beside me every night
Can we just feel this way together till the end of all time

Sade – By Your Side
2000

Oh, when you’re cold
I’ll be there, hold you tight to me
Oh, when you’re low
I’ll be there by your side

Sisqo – Incomplete
2000

I can make believe I have everything, but I can’t pretend that I don’t see
That without you girl my life is incomplete

K-Ci & JoJo – All My Life
1998

And all my life I’ve prayed for someone like you
And I thank God that I, that I finally found you

Monica – Angel Of Mine
1997

You came into my life
Sent from above
When I lost all hope
You showed me, love

Babyface – Everytime I Close My Eyes
1997

And every time I close my eyes
I thank the Lord that I’ve got you yeah
And you’ve got me too

Kenny Lattimore – For You
1996

Every page that I write
Every day of my life
Would not be filled without the things
That my love for you now brings

Whitney Houston – I Will Always Love You
1992

I hope life treats you kind
And I hope you have all you’ve dreamed of
And I wish to you joy and happiness
But above all this, I wish you love

Shai – If I Ever Fall In Love
1992

I just wanna be the one who serves you
Sometimes I feel as if I don’t deserve you
I cherish every moment that we share

Surface – The First Time
1991

The love I had for you time won’t ever change
I’ll always feel the same
Now until the end

Luther Vandross – Here And Now
1990

Here and now
I promise to love faithfully
You’re all I need
Here and now
I vow to be one with thee, hey
Your love is all I need

Anita Baker – Just Because
1989

I love you just because
Just because I do, my darlin’
Emotions more than words can help me say
I love you, baby, just because you’re you

Freddie Jackson – You Are My Lady
1985

Just say that you’ll stay with me
Cause our love was meant to be
I promise to love you
More each day

Stevie Wonder – Overjoyed
1985

For did my dreams
Come true when I looked at you
And maybe too, if you would believe
You too might be
Overjoyed

Chaka Khan – Through The Fire
1985

Through the fire, to the limit, to the wall
For a chance to be with you
I’d gladly risk it all

Lionel Richie & Diana Ross – Endless Love
1981

You mean the world to me
I know I know
I’ve found, I’ve found in you
My endless love

The O’Jays – Forever Mine
1979

Oh, girl
I like what you like, you like what I like,
An` we were made for each other

Heatwave – Always And Forever
1977

Every day, love me your own special way
Melt all my heart away with a smile
Take time to tell me, you really care
And we’ll share tomorrow, together
I’ll always love you forever

Barry White – You’re The First, My Last, My Everything
1974

The first, my last, my everything
And the answer to all my dreams
You’re my sun, my moon, my guiding star
My kind of wonderful, that’s what you are

Marvin Gaye & Tammi Terrell – You’re All I Need To Get By
1968

Like sweet morning dew I took one look at you
And it was plain to see, you where my destiny
With my arms open wide, I threw away my pride
I sacrificed for you, dedicated my life to you

The Four Tops – Baby I Need Your Loving
1964

Baby, I need your lovin’
Got to have all your lovin’

The Miracles – You’ve Really Got A Hold On Me
1962

You really got a hold on me, you really got a hold on me, you really got a hold, baby
I love you and all I want you to do is just hold me

Otis Redding – These Arms Of Mine
1962

These arms of mine, they are burning
Burning from wanting you

Sam Cooke – You Send Me
1957

You thrill me
I know you, you, you thrill me
Darling you, you, you, you thrill me
Honest you do

Nat King Cole – When I Fall In Love
1956

When I give my heart it will be completely
Or I’ll never give my heart
And the moment I can feel that you feel that way too
Is when I fall in love with you

If you like R&B songs, you will probably like this song list too!

Top 150 R&B Wedding Songs
R&B Garter Toss Songs
R&B Father Daughter Songs
R&B Wedding Cake Cutting Songs

Want to read more first dance song lists? Check out these!

Top 125 First Dance Songs
Rock First Dance Songs
Country First Dance Songs
Indie First Dance Songs

Wedding Songs For The Ultimate Party!

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to the history of the issue - "Ingushetia" - Internet newspaper

The culture of human civilization originated in ancient times. It is divided into material and non-material. From the intangible cultural heritage, dancing is a very spectacular phenomenon. A person tends to express his emotions not only with words, deeds, but also with generally accepted gestures, facial expressions, dance movements. This is how the custom of celebrating joy with dances was born. In this regard, it should be noted that the Ingush dance has an ancient history, its own techniques and movements inherent only to the Ingush, the order, time and place of performance.

The great dancer Makhmud Esambaev, who managed to show the beauty of the dances of many peoples of the world, remarked: “... For me, to know the people means to know their dance, born of invention, ingenuity, imagination, and the mind of the people. The dances that live among the people are a true encyclopedia of life. No matter how far away you find yourself, having recognized the dances of the people, you will vividly feel the mindset of the inhabitants of this country, their national character ... "

Ingush dance remains one of the least studied layers of the intangible cultural heritage of the people. “... In the culturological literature, there is still not a single research work devoted to Ingush dances ...”, notes one of the researchers. The Ingush dance functions as a folk version, but improvisations were not allowed, because experts immediately noticed flaws in the performance. The same researcher of the Ingush dance notes: “... Dancing and songs are the favorite entertainment of the people, not a single social or family celebration can do without dancing . ..” This is true. Dance occupies one of the main places in the culture of the Ingush. Ruslan Kurkiev's book "From the history of the Ingush dance" is the first attempt at scientific and historical-ethnographic understanding of the Ingush dance as a cultural phenomenon.

It should be noted that until the end of the 19th century, the Ingush had a ritual of performing comic bickering songs - “illesh-yapparash”. Girls from the wedding train competed in wit on the one hand, and relatives and bridesmaids on the other.

In addition to weddings, dances could also be held on other important occasions: the arrival of dear guests, including those from a different ethnic background, the birth of a long-awaited heir, the conclusion of twinning, friendship between representatives of two teips, during various folk holidays, and also when providing collective assistance - "belkhi", etc.

At such events as "Lovzar", there was always one young man in the status of a joker and a merry fellow who could comment on any word, deed, dance, melody. And all this was done within the bounds of decency, so as not to offend anyone, and there could not even be any talk of insulting anyone. The toastmaster, the jovial joker and the manager at the party were the main hosts, each of whom had his own status and limits of behavior. All those present had to strictly obey them, first of all, toastmaster. Only with his consent could they speak. (Thamada Purmian dosh alar).

The jovial joker was called “b1izha-g1anda t1a vag1ar”. Everything was forgiven him, except for insults, which he did not allow. He could, without the permission of the toastmaster, get up and go out, also go back in and sit down. At the same time, his place was reserved for him until he returned back. Jokes, parables, proverbs and sayings, stories about famous men - "dika konakhiy" sounded during the "Lovzar". Basically, they were voiced by a jovial joker.

In accordance with the Ingush adats, only unmarried girls could participate in all these events, including dancing, going for the bride as part of the wedding train - "zamesh", participating in comic matchmaking - "begashkha zoakhalol". Also to greet young people, "behke nakh" - honored guests of this family, not only during the wedding, but also on other solemn occasions.

Dance melodies to accompany dances were performed on various musical instruments: “1ad-hyokha pandar” - cello, “dakhchan-pandar” - balalaika, “ch1ondarg” - violin, “kakhata pandar” - harmonica, “sheda” - flute, “zurma "- zurna. The motives of these melodies were based on the corresponding folk texts. To the beat of the dance melody, they lightly beat the drum - “veil”, and clapped their hands. Also, short comic dialogue songs were performed, like Russian ditties.

In the memory of the Ingush people, a fairly large number of dance names have been preserved.

Ezdi Khalhar is a noble dance. When the dance is announced, the girl goes out first, and only after she has completed the third round does her partner go out. Meaning: among the Ingush, during matchmaking, intermediaries go to the house of a potential bride three times: 1) to declare their intention to intermarry - “zoakhalol d1akhoade”; 2) to discuss all the conditions for making matchmaking - “zoahalol duvets”; 3) to make the matchmaking itself - “zoahalol hade”. From this moment on, the betrothed girl is considered a full-fledged daughter-in-law of a different kind - "teip". She is forbidden to be a participant in these events: "Lovzar", "begashkha zoakhalol", as well as to be part of the wedding train - "zamesh". She is considered someone else's wife.

The girl’s partner dances sedately, the steps are small, his knees don’t even touch the floors of the Circassian coat (“ezdiy khalkhar decha khana chokkhe 1erzh tohayaliyitasar z1amsago”). He is held straight, his shoulders are turned. During the movement, the dancer - "khalharho" - gives a sign to the partner with his hands where to move: to the elders, her girlfriends, or to his comrades - participants in the celebration. This is showing signs of attention and respect to all of them. It should be noted here that the girls stand during the "Lovzar". In view of this, when the fun is delayed due to the arrival of other guests, the girls are often allowed to rest in a separate room. All this is strictly monitored by the party manager, who is endowed with great powers by the owner of the family himself. Here, the moment when the hosts try to respect all the guests is very important, so that not one of them can reproach the head of the family for neglecting the guests “hey behk khurgboatsash”.

There were dedication dances in honor of a famous man - “mehka konakhchunna hetaday khalhar”, and a dance-greeting the guest - “hyashaga moarshal hattara khalhar”.

They were performed by the most skillful couple in this craft. Sometimes these dancers were specially invited, including from other localities, if they were not at the celebration, due to the lack of their relationship with this family, or they were not specially invited by the wedding host himself. You can go to the funeral on occasion and express condolences. But only those invited should go to the celebration. On this occasion, the Ingush say: “Khaykanza bena phu, dottanza bahab” (“The male who arrived without an invitation left without a salty slurp”).

As usual, the dancer was a mature man. Both dances were performed in a collected, sedate manner, without sudden movements and turns.

The comic dance of the old people - "Koanoy begashkha khalkhar" was rarely performed. The melody was perky, at a fast pace. The partner was a girl. Among neighboring peoples (Chechens, peoples of Dagestan), women can dance, including performing comic dances.

Youth dance - "Kagirhoy khalhar". This sparkling dance was performed so that the elders would remember their former youth. Here the dancer showed fast steps rhythmically adjusted with drum beats and handclaps. The dance was performed with youthful enthusiasm. The ability to lead a partner in a circle, without losing sight of her for a second, was one of the main principles of his performance. First of all, he brought his partner to the elders, then to her friends, and only after that to his comrades. At the same time, the girl made one circle in front of each group and continued to move further, fulfilling the wishes of her partner.

According to field records, Ingush dance is a sign language. A young man and a girl who owned it could “speak” with gestures about their feelings, express mutual respect and affection, and declare a desire to become related. The girl, if she agreed, could “answer”, modestly lowering her gaze, or, conversely, if she didn’t want to, raising her hands just above the waist.

Friend's dance - "Dottag1chun khalhar". This dance was performed by the groom's friend, at a medium pace. If a friend from a different ethnic environment arrived at the invitation of the owner, then a dance melody of the ethnic group of which he is a representative was performed for him. This was done so that the guest would not get into an awkward position due to his inability to dance in Ingush.

Girl's dance - "Mekhkari khalhar". In principle, the girls did not dance separately at any celebrations. But in a narrow circle, they could arrange a separate girl's party and dance there, honing their skills. There they joked, ironically on various funny occasions that took place during a comic matchmaking, at a wedding, during a trip for a bride, etc. This dance was an obligatory attribute during a purely women's holiday - "Sesariy ts1ai", celebrated in "sai 1akha butt" - September.

The dance of the brother - "Veshy Khalkhar" was performed, like the dance of the friend - "Dottag1chun Khalkhar", with the exception of the dance of another people. It was a dance when a brother was happy for his brother because a new family member was coming into the house.

Dance of the son-in-law - "Naytsa Khalhar". An Ingush son-in-law is a special relative who cannot show himself in front of his parents, as well as other older relatives of his wife. And therefore this dance was performed by him in a circle of young people. It was associated with dignity, nobility and respect. In the character of the son-in-law, sedateness, the ability to stay in society, the provision of appropriate signs of attention to all participants in the celebration, and generosity were considered a rule of good manners.

Dance of the nephew - "Yishy viiy khalkhar". Unlike the son-in-law, the nephew had no restrictions in terms of communication with his mother's relatives - "noanaha". The son-in-law - “nayts”, and the nephew - “yishy vo1”, were practically equal in status. Their dance is sustained in a calm, measured style and practically does not differ from one another. Here the dancer shows respect for all mother's relatives.

"Stirrup" dance - "Nak'a morshala, liita lazara khalhar". This pair dance was short and was performed in honor of the guest, when the hosts saw him off, supporting the stirrup - “liita latsa”.

Joking dance of a rooster stepping on hot coals — “Tov t1a yannacha borg1ala khalkhar”. Such a dance was performed to amuse the assembled people. It is rather an improvisational dance, where the performer could do such sharp steps, with jumps and jumps, pretending to be burned on hot charcoal. The accompanying melody and handclaps were in time.

Shepherd's dance - "Zha1una Khalhar". Honest creative work was highly respected by our ancestors. If a person was able by his labor to increase the material condition of the family, clan, then he had every right to perform the dance, thereby expressing his joy.

Dance of the winners - “Kotalo yakkhacha b1uhoy khalhar”. It was one of the two mass dances of the Ingush (15-30 people) (more on the second dance below).

It was performed after the victory over the enemy. There was joy here for "Mekhka konakhiy" - real men who defended their honor and dignity. All movements were performed with dignity and were accompanied by various exclamations praising the heroes of the battle. Sometimes, instead of music, the participants themselves sang the anthem of victory.

It is not possible to explore all the variants of dances, because of their abundance and diversity, but we will give the opinions of researchers about some of them, which were performed by the Kists, the inhabitants of mountainous Georgia. After all, everything is known in comparison. “... The Kistin dance was known not only in Pankisi, but throughout Eastern Georgia. It was of two types - individual performance and group dance. In a group dance, men and women dance together. In terms of content, these dances are smooth and complex. As for the individual dance, it is extremely temperamental and original. They dance vigorously, trying to attract as much attention as possible to the audience ... ".

It was noted above that the Ingush had only two mass dances: "Kipena" Kkho pen ("Three Walls") and the dance of the winners - "Kotalo yakkhacha b1ukhoy khalkhar". And both dances were performed only by men.

All other dances were in pairs, where a guy and a girl showed how they can dance beautifully. No one performed solo numbers, because the Ingush said that the dance is a silent conversation of the gestures of two hearts in love.

The theme of the Ingush dance is extensive and practically not studied scientifically. But it should be noted that there were scattered publications by different authors on some Ingush dances.

This is approximately the short history of the Ingush dance, which is waiting for its meticulous researcher.

LITERATURE AND SOURCES:

1. Pozhidaev G. The Tale of the Dance. M., 1972, p.85. Quoted from: Z.M. Kesheva, Dance and musical culture of the Kabardians in the second half of the 20th century. Nalchik, 2005, M. and V. Kotlyarov Publishing House (“Polygraphservice and T”), S. 29.

2. R.S. Kurkiev. From the history of the Ingush dance. Rostov-on-Don. 2020. S. 3.
3. Ibid.

4. Mereshkov Sultan, Records on the ethnography of the Ingush / / G1alg1ai ethnographeh dola yoazonash. Magas. 2020. S. 290-291.

5.G1alg1ay for the bagahbuvs. Compiled by A.U. Malsagov. Magas, Serdalo, 2002, pp. 484-494.

6.PMA. Mereshkov Sultan wrote down from the words of his father Alaudin Zaamievich. Altievo, Nazranovsky district of the CHIASSR, 1981.

7. Ille tamash / / Miracle song. Compiled by A.O. Malsagov, Grozny, "Book", 1990. S.142-153; newspaper "Serdalo", 1991, January 12.

8. PMA. Mereshkov Sultan wrote down from the words of his father Alaudin, Altievo, Nazranovsky district of the CHIASSR, 1981.

9. Karabanova S.F. Dances of small peoples of the south of the Far East of the USSR as a historical and ethnographic source. M., 1979, p.5. Quoted from: Z.M. Kesheva, Dance and musical culture of the Kabardians in the second half of the 20th century. Nalchik 2005, M. and V. Kotlyarov Publishing House (“Polygraphservice and T”), S. 11.

10.I.Yu. Aliroev, L.Yu. Margoshvili. Kistiny.M. 2006. C 413.

11.PMA. Mereshkov Sultan wrote down from the words of his father Alaudin, illiterate, Altievo, 1984.

12. PMA. Recorded by Khamkhoev Daud, from the words of Khamkhoev Yusup Elberdovich, 189Born 6, village of Ali-Yurt, Nazranovsky district of the Chechen ASSR, 1974

13. PMA. Recorded by Khamkhoev Daud, from the words of Khamkhoev Yusup Elberdovich, born in 1896, Ali-Yurt village, Nazranovsky district of the Chechen ASSR, 1974

14. PMA. Recorded by Daud Khamkhoev, according to Yusup Elberdovich Khamkhoev, born in 1896, Ali-Yurt village, Nazranovsky district of the Chechen Republic of China, 1974

15. PMA. Recorded by Khamkhoev Daud, from the words of Khamkhoev Yusup Elberdovich, born in 1896, Ali-Yurt village, Nazran district of the Chechen ASSR, 1974

16. PMA. Recorded by Khamkhoev Daud from the words of Khamkhoev Yusup Elberdovich, 189Born 6, village of Ali-Yurt, Nazranovsky district of the CHIASSR, 1974

17. PMA. Recorded by Khamkhoev Daud from the words of Khamkhoev Yusup Elberdovich, born in 1896, village of Ali-Yurt, Nazranovsky district of the Chechen ASSR, 1974

18.PMA. Recorded by Khamkhoev Daud, according to Khamkhoev Yusup Elberdovich, born in 1896, village of Ali-Yurt, Nazranovsky district of the Chechen ASSR, 1974

19.PMA. Recorded by Khamkhoev Daud from the words of Khamkhoev Yusup Elberdovich, born in 1896, Ali-Yurt village, Nazran district of the Chechen ASSR, 1974

20. PMA. Mereshkov Sultan wrote down from the words of his father Alaudin.

21. PMA. Recorded by Daud Khamkhoev from the words of Yusup Elberdovich Khamkhoev, born in 1896, Ali-Yurt village, Nazran district of the Chechen Republic of China, 1974

22. PMA. Recorded by Khamkhoev Daud from the words of Khamkhoev Yusup Elberdovich, born in 1896, Ali-Yurt village, Nazran district of the Chechen ASSR, 1974

23. PMA. Recorded by Khamkhoev Daud from the words of Khamkhoev Yusup Elberdovich, born in 1896, village of Ali-Yurt, Nazranovsky district of the Chechen ASSR, 1974

24. PMA. Mereshkov Sultan wrote down from the words of his father Alaudin.

25. I.Yu. Aliroev, L.Yu. Margoshvili. Kistin. M. 2006. P. 413.

26. PMA. Mereshkov Sultan wrote down from the words of his father Alaudin, Altievo, Nazranovsky district of the Chechen Republic of China, 1981

27. Collection of information about the Caucasian highlanders. Issue IX. Tiflis 1876. Ingush (their life and customs) N. F. Grabovsky; The peoples of the world. Ethnographic essays. Publishing House of the Academy of Sciences of the USSR. M. 1960; Newspaper Kavkaz of June 10, 1850, No. 45; cultural anthropology.I.L.Babich. "Directions of migration of the North Caucasus from Russia (1920-1930s)"; Newspaper Pravda, March 8, 1928, No. 56.

28. (Frakisches Volkrsdlatt. 1877. No. 207. den 11. September) (Translated from German by B. Gazikov). Quoted in: Supplement. Additional materials for the book by R.S. Kurkieva: "From the history of the Ingush dance".

Glossary: 

Begashkha zoakhalol (e, e)-comic matchmaking.

B1izha g1anda t1a vag1ar (c, b) - sitting in the place of the "illegitimate" joker-merry fellow, for whom there were no restrictions on remarks and remarks during the "lovzar".

Dika konakh (c, b) - famous, noble man.

Zamesh (b) - wedding train.