Ana
01 · Lineage & Regional School
Ana, Female, Russian, from Tachengdiqutacheng, Xinjiang, is a sixth-batch national representative bearer of Russian Tita Dance (Ⅲ-144). The tradition is documented in Tachengdiqutacheng, Xinjiang. Within the regional tradition and school record of Russian Tita Dance in Tachengdiqutacheng, Xinjiang: It fuses the folk kick-step dance, the court ballroom dance and the folk dances of the other local peoples, forming a style of its own with a striking character. The Russian ethnic kick-step dance has marked ethnic and regional characteristics, and conveys a great deal of information about the history and culture, the social life, the spiritual outlook and the aesthetic values of the Russian people. The Russian ethnic kick-step dance was brought into Xinjiang when the Russian people migrated there, and in Tacheng it long exchanged influence with the songs and dances of the local Kazakh, Uyghur and other peoples; its dance steps, building on the folk kick-step dance and the court ballroom dance, absorbed local folk dance vocabulary and formed a style of its own. Tacheng City lies twelve kilometres from the Baketu port, is the city in China with the largest Russian population, and at festivals and public gatherings men, women, old and young eagerly take to the dance, which is one of the principal forms of local entertainment.
02 · Mastery & Signature Works
The bearer record for Ana is anchored in the documented technical standards of Russian Tita Dance in Tachengdiqutacheng, Xinjiang. Within the documented technical tradition of Russian Tita Dance in Tachengdiqutacheng, Xinjiang: The Russian ethnic kick-step dance is a traditional dance current in Tacheng City of Tacheng Prefecture, Xinjiang Uygur Autonomous Region. Tacheng lies in the north-west of China on the border with Kazakhstan in Central Asia, twelve kilometres from the Baketu port, and is the city in China with the largest Russian population. The Russian ethnic kick-step dance vividly reflects the warm, uninhibited character and the aesthetic taste of the Russian people, who love to sing and dance; it is an important part of Russian life and one of their favourite forms of entertainment. It is generally performed at festivals, ceremonies and public gatherings, where men, women, old and young eagerly join in, and it has a strong degree of popular participation. Its movements are rich and varied, its dance steps change in endlessly shifting rhythms, and its forms of expression are many and diverse. It is divided into solo, two-person, three-person, multi-person and collective kick-step dance, combining improvised forms of self-entertainment with performing forms that unite spectator appeal with artistry. Its basic movements are the rhythmic stamping, flicking, patting and squat-leaping of the legs and feet; it is passionate and graceful, wild and stirring, and highly expressive. The music of the kick-step dance includes both folk songs and specially composed dance tunes; the pieces are lively and beautiful, the rhythm ardent and varied, most of them in 4/4 or 2/4 time, and the accompanying instruments are generally the accordion, the bayan and struck birch-tree spoons, together with instruments such as the balalaika, the violin and the guitar. The movements of the Russian ethnic kick-step dance are improvised entirely through the dancer's own grasp of the rhythm and rendering of the mood; the accompanying music, the melodic rhythm, the sung lyrics and the form of performance all change accordingly, which makes it highly improvisational. Its soul lies in the clear and pleasing rhythm under the dancer's feet and in the flowing, ever-changing dance steps; the combinations of stamping, flicking, tapping, punctuating, turning leaps and squat leaps are dazzling in their variety, fully revealing the charm of ethnic and folk dance art. Representative repertoire, works and technical entries recorded for the project include: "Solo, duet, trio, group and mass forms": The dance ranges from solo to mass forms, equally a self-entertaining improvisation and a staged performance art. "Stamping, tapping, slapping and crouching": Legs and feet stamp, tap, slap and spring in crouch: the soul of the dance lies in the clear rhythm and flowing steps beneath the dancer. "Accordion, bayan and birch spoons": Songs and dance tunes in four-four or two-four time are carried by accordion, bayan and struck birch spoons, with balalaika, violin and guitar. "Improvisation from the rhythm within": The movements are improvised wholly from the dancer's sense of rhythm and mood, the accompaniment shifting with the performance.
Solo, duet, trio, group and mass forms
The dance ranges from solo to mass forms, equally a self-entertaining improvisation and a staged performance art.
Stamping, tapping, slapping and crouching
Legs and feet stamp, tap, slap and spring in crouch: the soul of the dance lies in the clear rhythm and flowing steps beneath the dancer.
Accordion, bayan and birch spoons
Songs and dance tunes in four-four or two-four time are carried by accordion, bayan and struck birch spoons, with balalaika, violin and guitar.
Improvisation from the rhythm within
The movements are improvised wholly from the dancer's sense of rhythm and mood, the accompaniment shifting with the performance.
03 · Transmission & Safeguarding Status
In 2025, Ana was announced in the sixth batch of national representative bearers for Russian Tita Dance, with Tachengdiqutacheng, Xinjiang as the declared area. Within the documented safeguarding record of Russian Tita Dance in Tachengdiqutacheng, Xinjiang: The project was inscribed in the national inventory in 2021 (batch 5), with Tachengdiqutacheng, Xinjiang as its declared area, and Tacheng City Cultural Center as its safeguarding unit. Since the project was inscribed in the national inventory, its declared area and safeguarding unit have carried out documentation, transmission and presentation within the national safeguarding framework. Together, the inventory record and the project archive form the public documentary basis for the bearer’s transmission practice.
04 · Associated Heritage Item Dossier
Historical origin
The Russian ethnic kick-step dance was brought into Xinjiang when the Russian people migrated there, and in Tacheng it long exchanged influence with the songs and dances of the local Kazakh, Uyghur and other peoples; its dance steps, building on the folk kick-step dance and the court ballroom dance, absorbed local folk dance vocabulary and formed a style of its own. Tacheng City lies twelve kilometres from the Baketu port, is the city in China with the largest Russian population, and at festivals and public gatherings men, women, old and young eagerly take to the dance, which is one of the principal forms of local entertainment.
05 · Fellow National Bearers Lineage
National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.
| Bearer | Declared area | Roster code | Relation |
|---|---|---|---|
| Ana | Tachengdiqutacheng, Xinjiang | — | This page |
06 · Archival Sources & Bibliography
This static English edition is rendered at the edge for search engines, AI crawlers and readers without JavaScript. Compiled from official national representative bearer archival records and the associated project dossier, organized by topic and translated into English. 阅读中文版。