Msho khr

The dance “Msho Khr” was first scientifically studied by the choreographer Srbuhi Lisitsian. The narrators included Khoren Davtyan, Movses Ter-Hovhannisyan, Mukuch Hovhannisyan from Van and Shahen Kuzhikyants, Bismarck Azizyan, and Murad Hovhannisyan from Shatakh. Over time, this dance has also attracted the attention of other choreographers. “Msho Khr” has been preserved in daily life and remains very popular, especially among the descendants of Sasun and Mush regions, as well as in various villages of the Talin and Armavir regions.

“Msho Khr” shares similarities with the widely popular “Kochari” dance style, often being referred to as “Sasna Kochari.” The connection lies primarily in their content, as both dances depict animals and their leaping and jumping movements. The melodies of both dance forms are also similar, as are the step counts in their primary movements. Srbuhi Lisitsian recorded the main movements of “Msho Khr” with an 8-count rhythm, identical to many “Kochari” dance patterns. However, the more commonly preserved version of “Msho Khr” in everyday life currently follows a 6-count rhythm.

The narrators provide several interpretations regarding the name of the dance, particularly the word “Khr”: One interpretation defines “Khr” as a “gray horse with reddish markings.” Another explanation associates “Khr” with “hoof beats” or “bounding leaps.” A different narrator interprets “Khr” as “combat,” “pushing,” or “headbutting/ramming.” Occasionally, “Khr” is explained as “open free space,” “plain,” or “field.”

“Msho Khr” is a group dance with a linear structure. The dancers stand side by side, shoulder to shoulder, in a single row. If the number of participants exceeds the capacity of one row, the line is divided, referred to as “cutting the govynd,” creating groups. This division emphasizes the non-epic, more character-driven and role-playing nature of the dance, similar to “Kochari.”

In the various melodies of “Msho Khr,” 2/4 and 4/4 time signatures can be observed in both the “heavy” and “jumping” parts. The dance is often accompanied by traditional dance songs, the most common being the “Ascension Monday” song. Song selection is flexible, though during the Artsakh Liberation War and afterwards, performances often included patriotic and marching-style songs.
The dance alternates between deep knee bends on the left leg and small springs on the right. Despite this general logic, the spring system is technically complex from a performance perspective.