The prototype of «Zagida» was a solo female dance «Muglifa». There is information that in 1927, during a concert of the Bashkir State Drama Theater in Moscow, 14-year-old Faizi Gaskarov, being a student of the orchestra and dance ensemble of the theater, himself performed the Bashkir folk female dance «Muglifa», staged and directed by himself.

In the early 40s of the XX century «Muglifa» was presented in a folklore version performed by Beder Yusupova.

Presumably, a married woman to the accompaniment of an accordion and a dynamic tapping with her feet (teyeu, typyrlau) demonstrates various labor processes: she spins (yen ilau), winds the threads into a ball, rotating her hands, and whips up kumis (kymyz besheu). Then, smoothly lowering her hands down, the performer walks in a circle with a variable motion (the «yereshleu» movement), at the same time gently turning her hands «away from herself» and snapping her fingers.

All these elements inherent in many Bashkir folk dances are described in detail in the works of ethno-choreographer and teacher Lydia Nagayeva. «Typyrlau arose from the imitation of the trampling of horse hooves, choreographic and musical images were born under the rhythmic sounds of racing. Finger snaps reflected various labor processes. This dance movement could mean picking berries, milking mares, processing wool, spinning».

The «Muglifa» dance was performed extremely modestly, the performer did not dare to look openly at the viewer, her gaze was turned down. Smiling, joy and even light jumping were traditionally forbidden in women's dance for religious reasons. In the memoirs of Faizi Gaskarov it is said that «Muglifa is a beautiful, modest and proud girl. Dzhigits ("skillful and brave equestrians", "brave men" in translation from the Turkic languages) look at her, she flirts with them a little, and they admire her diligence».

This dance reflects the peculiarities of everyday life, closely related to the economic life of Bashkirs, as well as the modest disposition of Bashkir women. Because since ancient times people have embodied the nonverbal in dance – these are expressions of feelings, emotions, hidden thoughts of a person.

The success of «Muglifa» was huge. Khazina Magazova brilliantly performed this dance at the All-Russian competition of stage masters. Subsequently it was performed by Tamara Shagitovna Khudaiberdina. The ballet dancer introduced elements of classical choreography into the dance.

The next performer of this dance was Rashida Tuisina, who joined the ensemble in 1960. The plot and elements have largely remained the same. But it began to be called by another female name – «Zagida».

Could the young Rashida have known, having come to the audition for the ensemble with this famous modest dance, that precisely it would determine her fate, become the «calling card» of the State Academic Folk Dance Ensemble named after F. Gaskarov, that precisely with it the dancer would win the love of the audience, become famous all over the world and earn the title of «pearl of Bashkir dance».

«It so happened that after graduation from school with a 10-year term of study, being a young head of the pioneer detachment from Baimak, I came to audition for a folk dance ensemble, but I got there to the very end of the second round. The viewing of all the applicants had already ended, and in desperation I turned to the examiners: "What about me?". I was allowed to dance, and I performed my favorite "Zagida". This dance was shown to me in my school years by Yangali Vakhitov, who came to our school. Of course, I remember now, many of my movements were uncertain, my hands were rough. Nevertheless the jury paid attention to me, I passed all the stages and after the internship I was accepted into the ensemble. I studied solo dancing with the People's Artist Ravilya Khaziyeva. It was she who gave me this composition».

For the first time the State Academic Folk Dance Ensemble named after F. Gaskarov presented the lyrical solo dance «Zagida» to the general public in 1961 at a concert in Moscow.

«My first appearance on stage with "Zagida" happened not somewhere, but in the State Kremlin Palace in 1961, by that time I had only been working in the ensemble for a year. Another dancer was supposed to perform the dance, but suddenly, in the middle of the concert, Faizi Adgamovich ran up to me and gave the order: "Tuisina, you will perform the «Zagida», immediately get ready to go on stage!". I was standing more dead than alive, but Faizi Adgamovich himself ordered it! I put on someone else's costume, which was much larger in size than mine, the accordion player Alfarit Sultanov played the intro, I went on stage with the thought: "If only I wouldn't confuse anything!". I danced as best I could, left the stage, and there was silence behind me. I thought it was a failure… And suddenly I heard a flurry of applause! I was called for an encore… After the concert Faizi Adgamovich Gaskarov himself came up to me with an armful of flowers and said: "Tuisina, you know, I don't have a habit of giving flowers to my artists, but you deserve it". The next day I was personally invited to the Peoples' Friendship University with this dance. And in 1968 I was sent to the World festival of youth and students in Sofia, where my number was awarded a gold medal».

After that the «Zagida» dance performed by Rashida Tuisina was seen by residents of Afghanistan, Pakistan, African countries, Poland, Germany, Estonia, Finland, Denmark, France and many other countries where the ensemble came.

Rashida Gilmitdinovna brought a lot of new things to the dance.

Firstly, it has more plasticity and dance elements.

In general, the plasticity of the hands in «Zagida», as in other productions of the ensemble, has become the fundamental technique of performing Bashkir women's dances. A Bashkir girl can perform a solo dance using only her hands. First of all, Bashkir dance performers should have soft hands, choreographers say so at the present time.

In Rashida Tuisina's «Zagida» a girl with a soft step and fluid movements goes out to the call of the kurai, rolls up her sleeves, weaves on a spindle, winds a thread, prepares kumis, raises a bowl with it and tastes the drink. Movements from folk folklore became new elements – hands, shoulders imitate the flight of butterflies, the waving of tree branches, the fluttering of leaves. The hands flutter, alternately rising up and falling down, the shoulders also alternately rise and fall. All hand movements are soft and pliable. In every gesture and even in cast glance femininity and at the same time modest cunning slips through. The dance conveys the external beauty and grace of the Bashkir girl, inner purity and nobility. It's fast and smooth at the same time.

Secondly, the costume has changed in «Zagida». The traditional headdress of the Bashkir women – kashmau – appeared on the performer's head, before there was a fox fur hat. In addition, Rashida Tuisina lengthened, took in on her figure and decorated the zilyan – the national long-skirted upper garment with long sleeves.

«When I put a kashmau on my head, the genes of my ancestors woke up in me, – she says. – How our great-grandmothers wore it, how they behaved, how the character of women can be conveyed through the national Bashkir costume. Kashmau was put on the betrothed girls. It is quite heavy, it has silver coins, corals, shells on it. And there is also such an appointment – putting a kashmau on a betrothed girl. This means that she should no longer look around, should not smile openly, should behave modestly and adapt to family life. She is gentle, obedient, but at the same time proud. After that I presented "Zagida" in a completely different way, which Faizi Adgamovich really liked».

Another distinctive feature of the «Zagida» costume is the zilyan with wide gussets in the sleeves. According to Rashida Tuisina, this element is not only for range of motion, it has the character of the people: freedom-loving, but modest. The performer's hands turned out like wings, and Faizi Adgamovich loved the crane bird very much, says Guzel Asadullina.

Today «Zagida» is more than 60 years old. To this day it continues to be the standard of Bashkir solo female dance. In the ensemble named after Faizi Gaskarov composition together with kashmau is passed down from generation to generation to each performer.

To this day for many viewers the personification of dance is Rashida Gilmitdinovna Tuisina. Her performance was described in the following way: «She managed to reveal her soul through the language of dance, convey the beauty, chastity, wisdom, restraint and grace of a Bashkir woman, as well as show the poetry of women's work».