ᱢᱚᱥᱤᱝ

ᱢᱚᱥᱤᱝ
	Audience members moshing to American thrash metal band Toxic Holocaust
Origin	Late 1970s, Huntington Beach and Long Beach, California, United States

ᱢᱳᱥᱤᱝ (ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱥᱮ ᱥᱟᱫᱷᱟᱨᱚᱱ ᱥᱞᱟᱢᱤᱝ ᱧᱩᱛᱩᱢᱛᱮ ᱩᱯᱨᱩᱢᱚᱜᱼᱟ) ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ ᱢᱤᱫᱴᱟᱝ ᱟᱹᱰᱤ ᱢᱟᱨᱟᱝ ᱮᱱᱮᱡ ᱨᱮᱭᱟᱜ ᱦᱚᱨᱟ , ᱡᱟᱦᱟᱸ ᱨᱮ ᱥᱮᱞᱮᱫ ᱟᱠᱟᱱ ᱦᱚᱲ ᱠᱚ ᱢᱤᱫ ᱦᱚᱲ ᱟᱨ ᱢᱤᱫ ᱦᱚᱲ ᱢᱩᱫᱨᱮ ᱫᱟᱠ ᱥᱮ ᱥᱞᱟᱢ ᱠᱚ ᱠᱚᱨᱟᱣᱼᱟ ᱾ ᱢᱳᱥ ᱯᱮᱴ ᱧᱩᱛᱩᱢ ᱛᱮ ᱢᱤᱫᱴᱟᱝ ᱴᱚᱴᱷᱟ ᱨᱮ ᱜᱷᱚᱴᱟᱣᱚᱜ (ᱥᱮ ᱥᱟᱫᱷᱟᱨᱚᱱ ᱞᱮᱠᱟᱛᱮ ᱯᱤᱴ) ᱱᱚᱶᱟ ᱫᱚ ᱥᱟᱫᱷᱟᱨᱚᱱ ᱞᱮᱠᱟᱛᱮ ᱯᱟᱱᱠ ᱨᱚᱠ ᱟᱨ ᱦᱮᱵᱷᱤ ᱢᱮᱴᱟᱞ ᱞᱮᱠᱟᱱ ᱡᱩᱭᱟᱹᱱ ᱥᱮᱨᱮᱧ ᱨᱮᱭᱟᱜ ᱡᱟᱨᱯᱟ ᱟᱱᱟᱜ ᱠᱟᱹᱨᱤ ᱨᱮ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱦᱩᱭᱩᱜᱼᱟ ᱾

ᱱᱚᱶᱟ ᱮᱱᱮᱡ ᱫᱚ ᱠᱚᱧᱮ ᱠᱮᱞᱤᱯᱷᱳᱨᱱᱤᱭᱟ ᱨᱮᱱᱟᱜ ᱦᱟᱨᱰᱠᱳᱨ ᱯᱚᱸᱠ ᱡᱩᱜᱽ ᱨᱮ ᱡᱟᱱᱟᱢ ᱞᱮᱱᱟ, ᱟᱥᱚᱠᱟᱭ ᱛᱮ ᱦᱟᱱᱴᱤᱝᱴᱚᱱ ᱵᱤᱪ ᱟᱨ ᱞᱚᱝ ᱵᱤᱪ ᱨᱮ ᱑᱙᱗᱘ ᱥᱮᱨᱢᱟ ᱨᱮ ᱾ ᱑᱙᱘᱐ ᱥᱮᱨᱢᱟ ᱨᱮ ᱱᱚᱣᱟ ᱫᱚ ᱵᱚᱥᱤᱱᱴᱚᱱ, ᱰᱤ.ᱥᱤ., ᱵᱚᱥᱴᱚᱱ ᱟᱨ ᱱᱤᱭᱩ ᱭᱚᱨᱠ ᱨᱮᱭᱟᱜ ᱦᱟᱨᱰᱠᱳᱨ ᱴᱚᱴᱷᱟ ᱠᱚᱨᱮ ᱯᱟᱥᱱᱟᱣ ᱞᱮᱱᱟ, ᱡᱟᱦᱟᱸ ᱨᱮ ᱱᱚᱣᱟ ᱨᱮᱭᱟᱜ ᱦᱚᱨᱟ ᱵᱷᱮᱜᱟᱨ ᱞᱮᱠᱟᱛᱮ ᱵᱮᱱᱟᱣ ᱞᱮᱱᱟ ᱾ ᱱᱤᱣ ᱭᱚᱨᱠ ᱨᱮ, ᱥᱚᱦᱚᱨ ᱨᱮᱱᱟᱜ ᱦᱟᱨᱰᱠᱳᱨ ᱥᱠᱮᱱ ᱟᱨ ᱢᱮᱴᱟᱞ ᱥᱠᱮᱱ ᱛᱟᱞᱟ ᱨᱮ ᱠᱨᱚᱥᱚᱵᱚᱨ ᱑᱙᱘᱕ ᱥᱟᱞᱮ ᱠᱷᱚᱱ ᱢᱚᱥᱪᱤᱝ ᱫᱚ ᱢᱮᱴᱟᱞ ᱨᱮ ᱥᱮᱞᱮᱫ ᱮᱱᱟ ᱾ ᱱᱤᱭᱩᱨᱠ ᱨᱮ ᱥᱟᱦᱟᱨ ᱨᱮᱭᱟᱜ ᱦᱚᱨᱰᱠᱳᱨ ᱥᱳᱭᱤᱱ ᱟᱨ ᱱᱚᱶᱟ ᱨᱮᱭᱟᱜ ᱢᱮᱛᱟᱞ ᱥᱳᱭᱤᱱ ᱢᱩᱫᱨᱮ ᱠᱨᱟᱥᱳᱵᱷᱟᱨ ᱫᱚ 1985 ᱥᱟᱹᱦᱤᱛ ᱨᱮᱭᱟᱜ ᱥᱩᱨ ᱨᱮ ᱮᱛᱚᱦᱚᱵ ᱠᱟᱛᱮ ᱢᱮᱥᱤᱝ ᱫᱚ ᱢᱮᱛᱟᱞ ᱨᱮ ᱥᱮᱞᱮᱫ ᱞᱮᱱᱟ ᱾ ᱑᱙᱙᱐ ᱥᱮᱨᱢᱟ ᱨᱮ, ᱜᱨᱟᱸᱡᱽ ᱥᱮᱨᱮᱧ ᱨᱮᱱᱟᱜ ᱩᱥᱩᱞ ᱛᱮ ᱢᱚᱥᱪᱤᱝ ᱫᱚ ᱢᱩᱬᱩᱛ ᱥᱮᱨᱮᱧ ᱨᱮ ᱥᱮᱞᱮᱫ ᱮᱱᱟ ᱟᱨ ᱤᱞᱮᱠᱴᱨᱚᱱᱤᱠ ᱰᱮᱱᱥ ᱥᱮᱨᱮᱧ ᱟᱨ ᱦᱤᱯ ᱦᱳᱯ ᱞᱮᱠᱟᱱ ᱡᱚᱱᱚᱨ ᱨᱮ ᱥᱮᱞᱮᱫ ᱮᱱᱟ ᱾

ᱱᱚᱶᱟ ᱨᱮᱭᱟᱜ ᱦᱤᱝᱥᱟ ᱚᱡᱮᱛᱮ ᱢᱳᱥᱤᱝ ᱫᱚ ᱟᱭᱢᱟ ᱜᱟᱱ ᱥᱮᱨᱮᱧ ᱟᱠᱷᱲᱟ ᱴᱷᱟᱶ ᱨᱮ ᱱᱚᱶᱟ ᱟᱠᱷᱲᱟ ᱨᱮ ᱵᱟᱛᱟᱣᱟᱜ ᱟᱨ ᱠᱤᱪᱷᱩᱠ ᱥᱮᱨᱮᱧ ᱠᱟᱹᱨᱤᱜᱚᱞ ᱠᱚ ᱱᱚᱶᱟ ᱨᱮ ᱥᱮᱞᱮᱫ ᱞᱟᱹᱜᱤᱫ ᱠᱚ ᱜᱨᱤᱯᱛᱟᱨ ᱞᱮᱫ ᱠᱚᱣᱟ ᱾

ᱩᱯᱚᱨᱚᱥᱚ[ᱥᱟᱯᱲᱟᱣ | ᱯᱷᱮᱰᱟᱛ ᱥᱟᱯᱲᱟᱣ]

" ᱢᱳᱥ " ᱧᱩᱛᱩᱢ ᱫᱚ " ᱢᱮᱥ " ᱥᱟᱵᱟᱫ ᱠᱷᱚᱱ ᱮᱛᱚᱦᱚᱵ ᱟᱠᱟᱱᱟ ᱾ 1979 ᱥᱮ 1980 ᱥᱟᱹᱦᱤᱛ ᱨᱮ ᱳᱣᱟᱥᱴᱤᱝᱴᱚᱱ ᱰᱤ ᱥᱤ ᱨᱮᱭᱟᱜ ᱮᱭᱤᱪ ᱟᱨ ᱳᱣᱚᱠᱤᱥᱴ " ᱵᱮᱱᱰ ᱤᱱ ᱰᱤ ᱥᱤ " ᱥᱮᱨᱮᱧ ᱠᱚᱨᱟᱣ ᱚᱠᱛᱚ ᱦᱰ ᱵᱨᱮᱱᱥ ᱫᱚ " ᱢᱮᱥ ᱤᱚᱴᱼ ᱢᱮᱥ ᱰᱟᱣᱩᱱ ᱵᱮᱵᱤᱞᱚᱱ " ᱥᱮᱨᱮᱧ ᱠᱟᱛᱮ ᱠᱚ ᱞᱟᱹᱭ ᱞᱮᱫᱟ ᱾ ᱩᱱᱤᱭᱟᱜ ᱵᱟᱝᱼᱟᱱ ᱡᱟᱢᱟᱭᱠᱟᱱᱟᱜ ᱮᱥᱮᱱᱴ ᱨᱮᱭᱟᱜ ᱚᱡᱮᱛᱮ ᱢᱤᱫ ᱵᱟᱨ ᱦᱚᱲ ᱧᱮᱞᱟᱱ ᱦᱚᱲ ᱱᱚᱶᱟ ᱫᱚ " ᱢᱳᱥ ᱤᱚᱴᱼᱢᱳᱥ ᱰᱟᱣᱩᱱ ᱵᱮᱵᱤᱞᱚᱱ " ᱢᱮᱱᱛᱮ ᱠᱚ ᱵᱟᱰᱟᱭ ᱧᱟᱢ ᱞᱮᱫᱟ ᱾ 1983 ᱥᱟᱞ ᱠᱷᱚᱱ ᱮᱛᱚᱦᱚᱵ ᱠᱟᱛᱮ ᱢᱮᱴᱟᱞᱦᱮᱰᱥ ᱫᱚ ᱦᱚᱨᱰᱠᱳᱨ ᱥᱮᱹᱨᱮᱹᱧ ᱨᱮᱭᱟᱜ ᱞᱟᱛᱟᱨ ᱦᱤᱸᱥ ᱠᱚ " ᱢᱳᱥ ᱯᱟᱨᱴᱥ " ᱞᱮᱠᱟᱛᱮ ᱞᱟᱹᱭ ᱮᱦᱚᱵ ᱞᱮᱫᱟ ᱟᱨ ᱦᱟᱨᱰᱠᱳᱨ ᱥᱮᱹᱟᱨᱮᱹᱧ ᱠᱟᱹᱨᱤᱜᱚᱞ ᱠᱚ ᱚᱱᱟ ᱠᱚ " ᱥᱠᱮᱱᱠ ᱯᱟᱨᱴᱥ " ᱠᱚ ᱢᱮᱱ ᱞᱮᱫᱟ ᱾ ᱥᱴᱳᱨᱢᱴᱨᱚᱯᱟᱨᱥ ᱚᱯᱷ ᱰᱮᱛᱷ 1985 ᱥᱟᱹᱦᱤᱛ ᱨᱮ ᱩᱱᱠᱩᱨᱮᱱ ᱯᱳᱭᱞᱳ ᱮᱞᱵᱟᱢ ᱥᱯᱤᱠ ᱤᱝᱜᱞᱤᱥ ᱟᱨ ᱰᱟᱭ ᱩᱪᱷᱟᱹᱱ ᱞᱮᱫᱟ , ᱡᱟᱦᱟ ᱢᱩᱫᱨᱮ " ᱢᱤᱞᱟᱱᱳ ᱢᱳᱥ " ᱥᱮᱨᱮᱧ ᱥᱮᱞᱮᱫ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ , ᱱᱚᱶᱟ ᱥᱟᱵᱟᱫ ᱫᱚ ᱮᱱᱮᱡ ᱨᱮᱭᱟᱜ ᱠᱟᱹᱨᱤ ᱨᱮ ᱵᱮᱣᱦᱟᱨᱚᱜ ᱮᱦᱚᱵ ᱞᱮᱱᱟ ᱾ ᱚᱱᱟ ᱛᱟᱭᱚᱢ 1987 ᱥᱟᱹᱦᱤᱛ ᱨᱮ ᱮᱱᱛᱷᱨᱟᱠᱥᱟᱜ ᱥᱮᱨᱮᱧ " ᱠᱟᱴ ᱤᱱ ᱮ ᱢᱳᱥ " ᱱᱚᱶᱟ ᱥᱟᱵᱟᱫ ᱫᱚ ᱟᱨᱦᱚᱸ ᱦᱚᱲᱠᱩᱥᱤᱵ ᱦᱩᱭ ᱞᱮᱱᱟ ᱾^[᱑]

ᱱᱟᱜᱟᱢ[ᱥᱟᱯᱲᱟᱣ | ᱯᱷᱮᱰᱟᱛ ᱥᱟᱯᱲᱟᱣ]

ᱮᱛᱚᱦᱚᱵ ᱟᱨ ᱮᱛᱚᱦᱚᱵ ᱩᱛᱱᱟᱹᱣ (1970ᱼ80 ᱜᱮᱞᱟᱝ)[ᱥᱟᱯᱲᱟᱣ | ᱯᱷᱮᱰᱟᱛ ᱥᱟᱯᱲᱟᱣ]

ᱢᱤᱫᱴᱟᱝ ᱢᱮᱥ ᱜᱩᱴ ᱪᱮᱛᱟᱱ ᱨᱮ ᱥᱚᱨᱯᱷ ᱠᱚᱨᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱦᱚᱲ ᱠᱚ ᱾

ᱢᱳᱥᱤᱝ ᱨᱮᱭᱟᱜ ᱥᱚᱨᱟᱥᱚᱨᱤ ᱢᱟᱲᱟᱝᱼᱟᱱ ᱫᱚ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ 1970 ᱜᱮᱞᱟᱝ ᱨᱮᱭᱟᱜ ᱤᱝᱨᱮᱡᱤ ᱯᱟᱱᱠ ᱨᱚᱠ ᱥᱤᱱ ᱨᱮ ᱠᱚᱨᱟᱣ ᱟᱠᱟᱱ ᱢᱤᱫᱴᱟᱝ ᱮᱱᱮᱡ ᱨᱮᱭᱟᱜ ᱠᱟᱹᱨᱤ , ᱡᱟᱦᱟ ᱨᱮ ᱦᱚᱲ ᱜᱟᱫᱮᱞ ᱫᱚ ᱩᱱᱠᱩ ᱴᱷᱮᱱ ᱛᱤ ᱫᱚᱦᱚ ᱠᱟᱛᱮ ᱪᱮᱛᱟᱱ ᱨᱮ ᱞᱟᱛᱟᱨ ᱨᱮ ᱞᱩᱯ ᱠᱟᱛᱮ ᱠᱚ ᱪᱟᱞᱟᱜ ᱛᱟᱦᱮᱸᱫ ᱾^[᱒] ᱫᱟ ᱯᱷᱤᱞᱛᱷ ᱮᱱᱰ ᱫᱟ ᱯᱷᱩᱨᱤ ᱞᱮᱠᱟᱛᱮ ᱱᱚᱶᱟ ᱫᱚ 1976 ᱥᱟᱹᱦᱤᱛ ᱨᱮ ᱥᱮᱠᱚᱥ ᱯᱮᱥᱴᱚᱞᱥ ᱵᱮᱥᱤᱥᱴ ᱥᱤᱰ ᱵᱷᱤᱥᱤᱭᱟᱥ ᱫᱟᱨᱟᱭ ᱛᱮ ᱵᱮᱱᱟᱣ ᱞᱮᱱᱟ ᱾^[᱓]

1970 ᱨᱮᱭᱟᱜ ᱜᱮᱞᱟᱝ ᱨᱮᱭᱟᱜ ᱢᱩᱪᱟᱹᱫ ᱥᱮᱫ ᱟᱨ 1980 ᱨᱮᱭᱟᱜ ᱜᱮᱞᱟᱝ ᱨᱮᱭᱟᱜ ᱮᱛᱚᱦᱚᱵ ᱥᱮᱫ ᱫᱚᱠᱷᱤᱱ ᱠᱮᱞᱯᱷᱟᱨᱱᱤᱭᱟ ᱨᱮ ᱢᱤᱫᱴᱟᱝ ᱧᱩᱛᱩᱢᱟᱱ ᱯᱟᱱᱠ ᱨᱚᱠ ᱨᱮᱭᱟᱜ ᱧᱮᱞ ᱴᱷᱟᱶ ᱵᱮᱱᱟᱣ ᱮᱦᱚᱵ ᱞᱮᱱᱟ , ᱡᱟᱦᱟᱸ ᱢᱩᱫᱨᱮ ᱯᱷᱤᱭᱟᱨ ᱟᱨ ᱵᱞᱟᱠ ᱯᱷᱞᱟᱜ ᱢᱮᱥᱤᱝ ᱞᱮᱠᱟᱱ ᱮᱛᱚᱦᱚᱵ ᱦᱚᱨᱰᱠᱳᱨ ᱯᱟᱱᱠ ᱜᱟᱫᱮᱞ ᱠᱚ ᱛᱟᱸᱦᱮ ᱠᱟᱱᱟ , ᱡᱟᱦᱟᱸ ᱫᱚ ᱛᱮᱦᱮᱧ ᱵᱟᱰᱟᱭ ᱟᱠᱟᱱᱟ , ᱡᱟᱦᱟᱸ ᱫᱚ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱠᱟᱛᱮ " ᱥᱞᱟᱢ ᱫᱟᱱᱥᱝ " ᱧᱩᱛᱩᱢ ᱛᱮ ᱩᱯᱨᱩᱢᱟ ᱾^[᱒] ᱱᱚᱶᱟ ᱚᱠᱛᱮ ᱨᱮ ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱨᱮ ᱥᱮᱞᱮᱫ ᱟᱠᱟᱱ ᱦᱚᱲ ᱠᱚ ᱩᱱᱠᱩ ᱥᱳᱨᱥᱳᱯᱳᱨ ᱦᱚᱲ ᱠᱚ ᱴᱷᱮᱱ ᱟᱹᱰᱤ ᱡᱟᱹᱥᱛᱤ ᱦᱚᱲᱢᱚ ᱡᱳᱜᱟᱡᱳᱜ ᱠᱟᱛᱮ ᱫᱟᱠ ᱟᱨ ᱨᱟᱱ ᱛᱟᱞᱟᱛᱮ ᱟᱨ ᱢᱤᱫᱴᱟᱝ ᱩᱯᱨᱩᱢ ᱴᱚᱴᱷᱟ ᱨᱮᱭᱟᱜ ᱟᱭᱩᱢᱟᱹᱱ ᱨᱮᱭᱟᱜ ᱮᱛᱚᱦᱚᱵ ᱠᱟᱛᱮ ᱯᱚᱜᱳ ᱫᱚ ᱵᱚᱫᱚᱞ ᱞᱮᱫᱟ ᱡᱟᱦᱟᱸ ᱫᱚ " ᱯᱤᱛᱚ " ᱧᱩᱛᱩᱢ ᱛᱮ ᱩᱯᱨᱩᱢᱟ ᱾^[᱔] ᱥᱴᱤᱵᱷᱮᱱ ᱵᱞᱟᱥᱟᱜ ᱯᱚᱛᱚᱵ ' امریکن ᱦᱟᱨᱰᱠᱳᱨᱼ ᱮ ᱴᱨᱟᱵᱤᱞ ᱦᱤᱥᱴᱨᱤ ' (2001) ᱞᱮᱠᱟᱛᱮ ᱱᱚᱶᱟ ᱪᱤᱛᱟᱹᱨ ᱨᱮ ᱥᱮᱞᱮᱫ ᱟᱠᱟᱱ ᱦᱚᱲᱠᱚ ᱢᱩᱫᱨᱮ ᱢᱤᱫᱴᱟᱝ ᱥᱟᱫᱷᱟᱨᱚᱱ ᱫᱷᱚᱨᱚᱢ ᱢᱮᱱᱟᱜᱼᱟ ᱡᱮ , 1978 ᱥᱟᱹᱦᱤᱛ ᱨᱮ ᱢᱟᱨᱠᱤᱱ ᱥᱮᱱᱟᱯᱷᱟᱹᱫᱽ ᱨᱮᱱ ᱢᱟᱨᱮᱱ ᱢᱮᱨᱤᱱ ᱢᱮᱤᱠ ᱢᱮᱨᱤᱱ ᱱᱚᱶᱟ ᱮᱱᱮᱡ ᱮ ᱵᱮᱱᱟᱣ ᱞᱮᱫᱟ ᱾ ᱩᱱᱤᱭᱟᱜ ᱜᱚᱴᱟᱵᱩᱴᱟᱹ ᱠᱟᱹᱨᱤ " ᱢᱤᱫᱴᱟᱝ ᱨᱩᱠᱛᱟᱨᱮ ᱪᱟᱞᱟᱜ , ᱟᱢᱟᱜ ᱛᱤ ᱠᱚ ᱡᱷᱩᱠᱟᱹᱣ ᱟᱨ ᱡᱚᱛᱚ ᱦᱚᱲ ᱟᱜ ᱥᱩᱨ ᱨᱮ ᱜᱷᱟᱹᱞ ᱥᱟᱶᱛᱮ ᱥᱮᱞᱮᱫ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ , ᱡᱟᱦᱟᱸ ᱫᱚ " ᱫᱟ ᱦᱟᱱᱴᱤᱝᱴᱚᱱ ᱵᱤᱪ ᱥᱴᱨᱟᱴ " ᱧᱩᱛᱩᱢ ᱛᱮ ᱩᱯᱨᱩᱢᱟ ᱾ ᱟᱨᱮᱱᱡ ᱠᱩᱱᱴᱤ ᱨᱮᱡᱤᱥᱴᱟᱨ ᱨᱮᱱ ᱚᱱᱚᱞᱤᱭᱟᱹ ᱴᱟᱢ ᱵᱟᱨᱜ ᱠᱳᱥᱴᱟ ᱢᱮᱥᱟ ᱵᱷᱮᱱᱤᱭᱩ ᱫᱚ ' ᱠᱳᱠᱩ ᱨᱮᱭᱟᱜ ᱱᱟᱥᱴ ' (1976ᱼ1981) ᱫᱚ ' ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱨᱮᱭᱟᱜ ᱡᱟᱱᱟᱢ ᱴᱷᱟᱶ ' ᱢᱮᱱᱛᱮ ᱠᱚ ᱢᱟᱹᱱ ᱞᱮᱫᱮᱭᱟ ᱾^[᱕] ᱱᱚᱶᱟ ᱯᱳᱭᱞᱳ ᱥᱮᱫ ᱨᱮᱭᱟᱜ ᱢᱮᱥᱤᱝ ᱨᱮᱭᱟᱜ ᱫᱟᱹᱭᱠᱟᱹ ᱠᱚ ᱚᱱᱫᱟᱨ ᱥᱴᱮᱴ ᱚᱯᱷ ᱢᱮᱱᱰ ' ᱟᱨᱵᱟᱱ ᱥᱴᱨᱚᱜᱚᱞ ' ᱫᱟ ᱰᱤᱠᱞᱤᱱ ᱚᱯᱷ ᱳᱣᱮᱥᱴᱟᱨᱱ ᱥᱤᱵᱷᱤᱞᱤᱡᱮᱥᱚᱱ ' ᱟᱨ ᱟᱢᱤᱨᱮᱱ ᱦᱟᱨᱰᱠᱳᱨ ' ᱼᱨᱮ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱟᱠᱟᱱᱟ ᱾ 1981 ᱥᱟᱹᱦᱤᱛ ᱨᱮ ᱥᱮᱴᱟᱨᱰᱮ ᱱᱟᱭᱤᱴ ᱞᱟᱭᱤᱵᱷ ᱨᱮ ᱯᱷᱤᱭᱟᱨ ᱟᱜ ᱥᱮᱨᱮᱧ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱦᱚᱸ ᱟᱹᱰᱤ ᱡᱟᱹᱥᱛᱤ ᱦᱚᱲ ᱠᱚᱣᱟᱜ ᱴᱷᱮᱱ ᱢᱳᱥᱤᱝ ᱥᱚᱫᱚᱨ ᱨᱮ ᱜᱚᱲᱚ ᱞᱮᱫᱮᱭᱟ ᱾

1981 ᱥᱟᱹᱦᱤᱛ ᱢᱩᱫᱨᱮ ᱫᱚᱠᱷᱤᱱ ᱠᱮᱞᱯᱷᱟᱨᱤᱱᱟ ᱨᱮ ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱦᱚᱲ ᱠᱚ ᱢᱩᱫᱨᱮ ᱡᱳᱜᱟᱡᱳᱜ ᱨᱮᱭᱟᱜ ᱢᱩᱲᱩᱫ ᱠᱟᱹᱨᱤ ᱨᱮ ᱵᱮᱱᱟᱣ ᱞᱮᱱᱟ , ᱚᱡᱮ ᱫᱚ ᱦᱟᱱᱴᱤᱝᱴᱚᱱ ᱵᱤᱪ ᱟᱨ ᱞᱚᱝ ᱵᱤᱪ ᱱᱚᱶᱟ ᱴᱷᱟᱶ ᱨᱮᱭᱟᱜ ᱛᱟᱞᱢᱟ ᱨᱮ ᱵᱮᱱᱟᱣ ᱞᱮᱱᱟ ᱾ 1980 ᱥᱟᱞ ᱨᱮᱭᱟᱜ ᱟᱜᱚᱥᱴ ᱨᱮ ᱳᱣᱟᱥᱴᱤᱝᱴᱚᱱ ᱰᱤᱥᱤ ᱵᱮᱱᱰ ᱫᱟ ᱴᱤᱱ ᱟᱭᱰᱮᱞᱥ ᱫᱚ ᱠᱮᱞᱯᱷᱟᱨᱤᱱᱟ ᱥᱟᱸᱜᱷᱟᱨ ᱞᱮᱫᱟᱭ , ᱡᱟᱦᱟᱸᱨᱮ ᱩᱱᱠᱩ ᱯᱳᱭᱞᱳ ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱨᱮᱭᱟᱜ ᱮ ᱧᱮᱞ ᱧᱟᱢ ᱞᱮᱫᱟ ᱾ ᱚᱲᱟᱜ ᱨᱩᱣᱟᱹᱲ ᱦᱮᱡ ᱛᱟᱭᱚᱢ ᱩᱱᱠᱩ ᱫᱚ ᱳᱣᱟᱥᱴᱤᱝᱴᱚᱱ ᱰᱤ ᱥᱤ ᱨᱮᱭᱟᱜ ᱦᱚᱨᱰᱠᱳᱨ ᱴᱷᱟᱶ ᱨᱮ ᱱᱚᱶᱟ ᱦᱚᱨᱟ ᱠᱚ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱫᱟ ᱾ ᱚᱱᱟ ᱜᱚᱴᱟᱵᱩᱴᱟᱹ ᱪᱤᱛᱟᱹᱨ ᱫᱚ ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱨᱮ ᱟᱨᱦᱚᱸ ᱚᱵᱷᱟᱵ ᱟᱱᱟᱜ ᱦᱚᱨᱟ ᱦᱟᱛᱟᱣ ᱞᱮᱫᱟ ᱟᱨ ᱥᱴᱮᱡ ᱰᱟᱭᱵᱷᱤᱝ ᱨᱮ ᱵᱟᱹᱲᱛᱤ ᱧᱮᱞ ᱧᱟᱢ ᱞᱮᱫᱟ , ᱢᱮᱱᱠᱷᱟᱱ ᱵᱳᱥᱴᱚᱱ ᱦᱚᱨᱠᱳᱨ ᱥᱤᱱ ᱨᱮ ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱫᱚ ᱦᱤᱝᱥᱟ ᱟᱱᱟᱜ ᱦᱩᱭ ᱞᱮᱱᱟ ᱟᱨ " ᱵᱳᱥᱴᱚᱱ ᱛᱷᱨᱟᱥ " ᱥᱮ " ᱯᱷᱟᱱᱪᱤᱝ ᱯᱮᱝᱜᱩᱭᱤᱱᱥ " ᱧᱩᱛᱩᱢ ᱛᱮ ᱢᱤᱫᱴᱟᱝ ᱠᱟᱹᱨᱤ ᱵᱮᱱᱟᱣ ᱠᱟᱛᱮ ᱜᱟᱹᱛ ᱞᱟᱛᱟᱨ ᱨᱮ ᱜᱷᱟᱹᱞ ᱨᱮᱭᱟᱜ ᱥᱮᱞᱮᱫ ᱦᱩᱭ ᱞᱮᱱᱟ ᱾ ᱵᱟᱥᱴᱚᱱ ᱨᱮᱭᱟᱜ ᱧᱮᱞᱟᱱᱨᱮ ᱟᱨ ᱢᱤᱫᱴᱟᱝ ᱩᱛᱱᱟᱹᱣ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ ' ᱯᱤᱜ ᱯᱮᱞᱤᱪ ' , ᱡᱟᱦᱟ ᱨᱮ ᱢᱤᱫ ᱦᱚᱲ ᱫᱚ ᱚᱛᱨᱮ ᱫᱟᱯᱨᱟᱢ ᱞᱮᱱᱟ ᱟᱨ ᱮᱴᱟᱜ ᱠᱚ ᱚᱱᱟ ᱪᱮᱛᱟᱱ ᱨᱮ ᱢᱤᱫ ᱠᱟᱛᱮ ᱠᱚ ᱮᱦᱚᱵ ᱞᱮᱱᱟ ᱾ ᱱᱚᱶᱟ ᱨᱮᱭᱟᱜ ᱮᱛᱚᱦᱚᱵ ᱫᱚ ᱢᱤᱫᱴᱟᱝ ᱰᱤᱭᱳ ᱥᱮᱴ ᱚᱠᱛᱚ ᱨᱮ ᱦᱩᱭ ᱞᱮᱱᱟ ᱡᱟᱦᱟᱸ ᱫᱚ ᱮᱥ ᱮᱥ ᱰᱤ ᱜᱤᱭᱴᱟᱨᱟᱥᱴ ᱟᱞ ᱵᱮᱨᱤᱞ ᱫᱟᱨᱟᱭ ᱛᱮ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱱᱟ ᱾ 1980 ᱜᱮᱞᱟᱝ ᱨᱮᱭᱟᱜ ᱛᱟᱞᱟ ᱨᱮ ᱱᱤᱭᱩᱭᱚᱨᱠ ᱨᱮᱭᱟᱜ ᱦᱟᱨᱰᱠᱳᱨ ᱥᱤᱱ ᱱᱚᱶᱟ ᱯᱳᱭᱞᱳ ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱫᱚ ᱟᱨᱦᱚᱸ ᱟᱹᱰᱤ ᱰᱷᱮᱨ ᱦᱤᱝᱥᱟᱱᱟᱜ ᱠᱟᱹᱨᱤ ᱨᱮ ᱵᱚᱫᱚᱞ ᱞᱮᱫᱟ ᱾ ᱩᱱᱠᱩᱭᱟᱜ ᱵᱷᱮᱜᱟᱨ ᱞᱮᱠᱟᱛᱮ , ᱠᱮᱞᱤᱯᱷᱳᱨᱱᱤᱭᱟ ᱥᱞᱟᱢ ᱮᱱᱮᱡ ᱨᱮᱭᱟᱜ ᱛᱤ ᱟᱨ ᱯᱮᱨᱮᱪ ᱨᱮᱭᱟᱜ ᱟᱨ ᱦᱚᱸ ᱵᱟᱹᱲᱛᱤ ᱨᱩᱯ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱚᱠᱛᱚ ᱥᱮᱞᱮᱫᱤᱭᱟᱹ ᱠᱚ ᱟᱡᱛᱮ ᱢᱤᱫ ᱴᱷᱟᱶᱨᱮ ᱛᱟᱦᱮᱸ ᱫᱟᱲᱮᱭᱟᱜᱼᱟ ᱥᱮ ᱮᱴᱟᱜ ᱠᱚ ᱥᱟᱶ ᱠᱚ ᱜᱷᱟᱹᱞ ᱫᱟᱲᱮᱭᱟᱜᱼᱟ ᱾^[᱖]

ᱥᱟᱹᱠᱷᱭᱟᱹᱛ[ᱥᱟᱯᱲᱟᱣ | ᱯᱷᱮᱰᱟᱛ ᱥᱟᱯᱲᱟᱣ]

↑ Christie, Ian, Sound of the Beast: The Complete Headbanging History of Heavy Metal
↑ ^᱒.᱐ ^᱒.᱑ Ragusa, Paolo (19 August 2021). "Moshing: The Art and Consequences of One of the Most Celebrated Concert Dance Forms". Consequence. Retrieved 11 July 2023. ᱛᱩᱢᱟᱹᱞ ᱦᱩᱲᱟᱹᱜ:Invalid <ref> tag; name "Ragusa 2021" defined multiple times with different content
↑ Boyar, Jay; Moore, Roger (June 17, 2000). "Festival Holds 'Filth', A Secret, Senselessness". Orlando Sentinel.
↑ Tsitsos, William (October 1999). "Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene". Popular Music. 18 (3): 405–406. doi:10.1017/S0261143000008941. Slamdancing is a style of dance which originated in the United States in the punk rock subculture of the late 1970s and early 1980s. It is a modification of the early punk 'pogo' dance. Slamdancing brought increased body contact to the original pogo...
The pit is not an explicitly marked off area, but pits usually form in front of the stage where a band is playing. Occasionally (usually at shows in larger venues), more than one pit will break out in various parts of the crowd. Although 'the pit' refers to an area, a pit only exists if people are dancing in it...
Slamdancing involves fast movement. Often, this movement takes the form of everyone in the pit running counter-clockwise, occasionally slamming into each other. The dance involves some arm-swinging, but it is usually just one arm (most often the right one) in motion. When dancers are running counter-clockwise, the swinging of the right arm serves a double function. On the one hand, it allows dancers to slam into people and then quickly push them away, and on the other, it helps dancers gain momentum while running in a counter-clockwise circle. Sometimes, however, slamdancers do not run in a circle, but rather move in a more 'run-and-collide' fashion, simply throwing themselves into the part of the pit where the most people are gathered, slamming into each other
↑ Tom Berg (10 February 2009). "O.C. punk club to go Hollywood". Orange County Register. Archived from the original on 16 December 2019. Retrieved 14 April 2020.
↑ Tsitsos, William (October 1999). "Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene". Popular Music. 18 (3): 405–406, 410. doi:10.1017/S0261143000008941. Much like slamdancing was a modification of the pogo, moshing emerged in the mid-1980s as a variation on slamdancing...
In contrast to slamdancing, moshing lacks the elements, such as circular pit motion, which promote unity in the pit. The development of moshing in New York City in the 1980s even saw the partial breakdown of the convention of picking up fallen dancers, as pit violence increased. New York City straight edge shows became legendary for their brutality...
Moshers keep their bodies more bent over and compacted, and they swing either both arms or just one (usually the right) arm around across the body in a move that one of my interviewees called 'the death swing'. This swinging of the arm(s) in moshing is far more theatrical and exaggerated than in slamdancing. If a mosher swings only one arm, the non-swinging arm is kept ready to provide some guard against collisions with other moshers. The dancers often stand in a stationary position while performing these moves, but sometimes they run into other people inside and on the edge of the pit. To do so, dancers generally just move to where there are other dancers clustered and colliding with each other and join in the collision. This run-and-collide style of moshing can be distinguished from the style of slamdancing which also involves running and colliding by the more exaggerated body movements in moshing. Moshers do not move in counter-clockwise group motion...
Compared with slamming, the fundamental body movements of moshing, such as the more violent swinging of the arms, the more violent body contact, and the lack of group motion place even greater emphasis on individual territoriality over community. Whereas the bodily motion of swinging arms and high-stepping legs has remained the traditional motion of slamdancing since it first emerged, moshing has seen the introduction of new moves such as jumping karate kicks.

[1] Christie, Ian, Sound of the Beast: The Complete Headbanging History of Heavy Metal

[Ragusa_2021-2] ᱒.᱐ ^᱒.᱑ Ragusa, Paolo (19 August 2021). "Moshing: The Art and Consequences of One of the Most Celebrated Concert Dance Forms". Consequence. Retrieved 11 July 2023. ᱛᱩᱢᱟᱹᱞ ᱦᱩᱲᱟᱹᱜ:Invalid <ref> tag; name "Ragusa 2021" defined multiple times with different content

[3] Boyar, Jay; Moore, Roger (June 17, 2000). "Festival Holds 'Filth', A Secret, Senselessness". Orlando Sentinel.

[4] Tsitsos, William (October 1999). "Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene". Popular Music. 18 (3): 405–406. doi:10.1017/S0261143000008941. Slamdancing is a style of dance which originated in the United States in the punk rock subculture of the late 1970s and early 1980s. It is a modification of the early punk 'pogo' dance. Slamdancing brought increased body contact to the original pogo...
The pit is not an explicitly marked off area, but pits usually form in front of the stage where a band is playing. Occasionally (usually at shows in larger venues), more than one pit will break out in various parts of the crowd. Although 'the pit' refers to an area, a pit only exists if people are dancing in it...
Slamdancing involves fast movement. Often, this movement takes the form of everyone in the pit running counter-clockwise, occasionally slamming into each other. The dance involves some arm-swinging, but it is usually just one arm (most often the right one) in motion. When dancers are running counter-clockwise, the swinging of the right arm serves a double function. On the one hand, it allows dancers to slam into people and then quickly push them away, and on the other, it helps dancers gain momentum while running in a counter-clockwise circle. Sometimes, however, slamdancers do not run in a circle, but rather move in a more 'run-and-collide' fashion, simply throwing themselves into the part of the pit where the most people are gathered, slamming into each other

[Berg2019-5] Tom Berg (10 February 2009). "O.C. punk club to go Hollywood". Orange County Register. Archived from the original on 16 December 2019. Retrieved 14 April 2020.

[6] Tsitsos, William (October 1999). "Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene". Popular Music. 18 (3): 405–406, 410. doi:10.1017/S0261143000008941. Much like slamdancing was a modification of the pogo, moshing emerged in the mid-1980s as a variation on slamdancing...
In contrast to slamdancing, moshing lacks the elements, such as circular pit motion, which promote unity in the pit. The development of moshing in New York City in the 1980s even saw the partial breakdown of the convention of picking up fallen dancers, as pit violence increased. New York City straight edge shows became legendary for their brutality...
Moshers keep their bodies more bent over and compacted, and they swing either both arms or just one (usually the right) arm around across the body in a move that one of my interviewees called 'the death swing'. This swinging of the arm(s) in moshing is far more theatrical and exaggerated than in slamdancing. If a mosher swings only one arm, the non-swinging arm is kept ready to provide some guard against collisions with other moshers. The dancers often stand in a stationary position while performing these moves, but sometimes they run into other people inside and on the edge of the pit. To do so, dancers generally just move to where there are other dancers clustered and colliding with each other and join in the collision. This run-and-collide style of moshing can be distinguished from the style of slamdancing which also involves running and colliding by the more exaggerated body movements in moshing. Moshers do not move in counter-clockwise group motion...
Compared with slamming, the fundamental body movements of moshing, such as the more violent swinging of the arms, the more violent body contact, and the lack of group motion place even greater emphasis on individual territoriality over community. Whereas the bodily motion of swinging arms and high-stepping legs has remained the traditional motion of slamdancing since it first emerged, moshing has seen the introduction of new moves such as jumping karate kicks.

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