Journal articles on the topic 'Choreographers'
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1
МОВА, Людмила. "Improvisation as an important element of future choreographers training." EUROPEAN HUMANITIES STUDIES: State and Society 1, no. I (March 23, 2019): 130–40. http://dx.doi.org/10.38014/ehs-ss.2019.1-i.10.
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Improvisation is considered an important and indispensable element of future choreographer's training, that contributes to future choreographer’s personality development and his/ her creative potential. The author analyzes the structure of work when creating a composition according to the 3q-system (Iztok Kovac, Slovenia). This article shows cases and analysis of personal variants of working with improvisation when training students-choreographers.
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Kant, Marion. "Mark Morris: Musician-Choreographer." Dance Research Journal 50, no. 1 (April 2018): 104–11. http://dx.doi.org/10.1017/s0149767718000104.
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Mark Morris: Musician-Choreographer by Stephanie Jordan is unusual in many ways, and there are hardly any volumes to which it can be compared. That alone sets this study apart from other recent titles on choreographers and their works. Jordan's book was published by Dance Books; yet, it is about music more than anything else—a choreographer's relationship to music, his formation and evolution as a dancer and dancemaker through music, the exploration of music through dance, and eventually Mark Morris's arrival in music as a conductor.
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Pyzhianova, Nataliia, Serhiy Kutsenko, and Petro Voloshyn. "The role of folk dance in formation of the choreographer creative potential." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 252–59. http://dx.doi.org/10.34069/ai/2020.27.03.27.
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The aim of the article is to substantiate the role of folk dance in the process of formation of the creative potential of a student-choreographer. Methods of generalization and comparative analysis were used in the research process. The article identifies three pedagogical conditions for formation the creative potential of students-choreographers by means of folk dance. It is pointed out that promising planning for professional growth plays an important role in formation the choreographers’ creative potential. The expediency of involving students in creative experiments, which include the creation of their own choreographic sketches in the middle of the hall, as well as training exercises near the machine, is substantiated. It is noted that students' sketch work in folk-dance classes is characterized by the study of choreographic sketches on the basis of dance vocabulary. The essence of separate types of students-choreographers’ independent work is revealed. The authors point out that the development of creative thinking, creative imagination and fantasy requires the application of a set of creative tasks based on improvisation. Attention is drawn to the need for the use of interactive and information technologies. Classes with the introduction of interactive and modern information technologies maximally stimulate student-choreographer’s cognitive independence and creative activity.
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Gavish, Maya, and Catherine J. Stevens. "Thinking Strategically about Dance Making: An Analysis of the Structuring Stage and the Strategies Choreographers Use for Varying Dance Works." Dance Research 38, no. 1 (May 2020): 41–64. http://dx.doi.org/10.3366/drs.2020.0290.
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This empirical study investigates how expert choreographers structure their dance pieces and vary their dance designs. Specifically, the methods choreographers apply for selecting, ordering, and refining movement material into a coherent whole were explored. Accordingly, the structuring process of two expert contemporary choreographers was isolated and examined separately from other stages of dance development. We have used observations, interviews and questionnaires to understand the choreographers’ actions and thoughts as they worked on creating three dance pieces. In addition, a model from the field of design (Yilmaz et al 2011) was utilised as the main framework for analysing the quantitative and qualitative data that was extracted. We found that choreographers transform their composition through the application of multiple strategies and particularly, ‘Local’ strategies. Still, each choreographer relies on a particular set of strategies based on the problems they identify in each process and their own personal preferences. Notably, real innovation was enabled through the application of ‘Process Strategies’. These techniques guided the choreographers’ overall approach through the solution space by forcing changes in a particular direction. As a result, new dance forms were discovered.
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Miao, Yu. "An Introduction to the Relationship between Dance Choreographers and Dancers: Taking the dance work "Looking at the Sea Tide" as an Example." Highlights in Art and Design 4, no. 2 (October 1, 2023): 145–48. http://dx.doi.org/10.54097/hiaad.v4i2.13454.
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The process of producing a dance work of art, which can be roughly divided into the creation of dance art and the conveyance of dance art, is a process of continuous fusion and perfection between the choreographer and the dancers. Their roles are both independent of each other and interconnected, and they are constantly switching with each other. They share the same mind with each other, but they share different tasks and responsibilities. For the perfect presentation of dance art, this paper takes the basic conception of choreographer's creation and the analysis of the basic quality of dancers to explore and sort out the relationship between choreographers and dancers from multiple perspectives.
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Candelario, Rosemary. "Choreographing American Dance Archives: Artist-Driven Archival Projects by Eiko & Koma, Bebe Miller Company, and Jennifer Monson." Dance Research Journal 50, no. 1 (April 2018): 80–101. http://dx.doi.org/10.1017/s0149767718000050.
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Choreographers have begun experimenting with artist-driven archives using digital technologies, exhibitions and installations, and live performance as a way to generate new work from their own archival materials and increase access to their body of work for audiences. This article focuses on three recent artist-driven archive projects by notable American choreographers Eiko & Koma, Bebe Miller Company, and Jennifer Monson. Drawing on interviews with the choreographers as well as on analyses of the three projects, I suggest that these projects' most important contribution is the idea that archives are not separate from a choreographer's body of work, but are indeed a part of his or her creative process and artistic production.
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PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.
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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer. In the context of the features of choreographic numbers and their significance for the opera performance, their repertoire is considered. Definition of research. At the beginning of the 21st century, the event of the separation of choreography as a separate scientific specialty called “Choreographic Art” took place in Ukrainian art, which in turn requires a deep and meaningful study of the choreographic art of Ukraine in all its aspects and the development perspective. One of the aspects of this study is the study of the activities of the theatrical choreographer. The purpose of this study is to track the historical processes of the formation of dance traditions in musical theaters using the example of the Lviv Theater of Musical Comedy in the period 1946-1953. Main objective of the study. To personify the choreographers of the theater and to indicate the result of their activities; to trace their careful attitude to the traditions of the past and modern traditions in the context of the activities of the theatrical choreographer; determine the prospect of further scientific research. Methodology. The general scientific methods of objectivity, historicism, systemicity and observation are applicable here. The method of objectivity and historicism provided an opportunity to trace the conditions and the main stages of the creative activity of the choreographers of the State Theater of Musical Comedy in Lviv. The comparative method is suitable for use in the analysis of the creative work of choreographers of the Musical Comedy Theater in Lviv, because such a method provides an opportunity to discover common and different features. The systematic approach allowed us to study this phenomenon comprehensively. The observation method, which was used for a comparative analysis of the activities of choreographers in the post-war years in Lviv with modern ballet activity, revealed the nature and inheritance of the traditions of musical theater. Conclusions. So, the dance became the main axis for the whole drama performance, on which interconnected episodes were strung together in pop and musical theaters. The introduction of choreography into theatrical performances by the choreographers released the energy, musicality, plasticity contained in it, and endowed the performance with dynamism. The dance introduced into the musical theater became the starting point for the use of dance in the cinema, avant-garde ballet, performances, installations and so on.All this was subtly felt and skillfully used in their activities by the choreographers of the Lviv Musical Comedy Theater O. Opanasenko, I. Brzhinsky, B. Tairov, N. Denson. It is pleasant to realize that the results of their activities and their choreographic inventions used in musical performances certainly found their response in the activities of theatrical choreographers of Ukraine in the modern environment. We consider the prospects for further research in the study of biographical facts from life, from the legacy of the work of choreographers of Lviv theaters of the 20-21 centuries. All this will provide an opportunity to determine the basis for the formation of the theater-choreographic school of Lviv in particular and Ukraine as a whole.
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Jonīte, Dita. "Horeogrāfa stratēģijas mūsdienu teātrī: Agates Bankavas piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 259–68. http://dx.doi.org/10.37384/aplkp.2020.25.259.
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During the last two decades, contemporary dance choreographers of Latvia have been more and more intensely involved in staging dramatic theatre performances. This observation has served as a basis for my research question: if and how the stage movement paradigm has changed in the dramatic theatre due to the input of professional contemporary dance choreographers. The increase of the choreographer’s competency and responsibility is related to the paradigmatic change in the theatre in general. Hans-Thies Lehmann, the distinguished German theatre theorist, has developed his post-dramatic theatre theory (Lehmann 2006) that promotes focusing on a live and direct relationship between theatrical performances and their audience. As a result, despite that the director still takes on the main responsibility for the staging, the input of other members of the creative team often equates with the director’s share of creative work. The text of the play in contemporary theatre is often regarded as one of the elements creating the stage work alongside the scenography, music, light design, video projection, etc. In this interdisciplinary kind of art, the choreographer plays an equal role by developing both individual performers and the whole ensemble, thus striving for the most matching and expressive psycho-physical stage presence of the performers. In my contribution, I have focused on Agate Bankava (b. 1991) as one of the most productive new generation contemporary dance choreographers. She regularly works both at theatrical and contemporary dance projects as well as for different interdisciplinary contemporary art performances. To characterize her work, I have described the strategies she uses following the principles Agate Bankava has stated as the basis for her work: high professional standards combined with a wise and intelligent thought pattern, consequently leading towards a comprehensive and sophisticated artwork that simultaneously preserves a link to reality.
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Kenzhetaeva, Aliya, Karlgash Aitkalieva, and Tolkyn Amreyeva. "Integration of Experience and Achievements in the Development of Performing Skills of Kazakh Dance in Higher Education Institutions of the Republic of Kazakhstan." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 53–63. http://dx.doi.org/10.15294/harmonia.v23i1.43859.
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The main purpose of this research is to study the experience and achievements of previous generations of folk dance performers to improve work with future choreographers who study Kazakh folk dance in higher education institutions of the Republic of Kazakhstan. The study’s methodological approach is the search and theoretical analysis of sources aimed at studying both the history of the Kazakh folk dance itself and the development of the performing skills methods of Kazakh dance in future choreographers. This research uses typological, historical, and thematic analysis methods from used literature collected during the writing of the article. The author analyzes the historical stages of the development of the professional training of choreographers-performers and the influence of the experiences and achievements of previous generations on the performing skills of future choreographers in Kazakh higher educational institutions. This study also found that modern teaching is based on the integration of experience and achievements in the art of choreography for the development of performing skills and choreographer-performer skills of Kazakh folk dances in higher educational institutions of the Republic of Kazakhstan. This research work is of practical importance in the study, as well as training of future choreographers who study dance in various areas of original folk art in higher education institutions of the Republic of Kazakhstan.
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TKACHENKO, M. "VISUALIZATION OF THE DIDACTIC PROCESS DURING THE SPECIAL COURSE "PROJECT TECHNOLOGIES IN THE PROFESSIONAL ACTIVITIES OF A CHOREOGRAPHER"." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 31 (August 7, 2023): 240–47. http://dx.doi.org/10.33989/2075-146x.2023.31.283442.
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The article reveals the peculiarities of the visualization of the didactic process during the implementation of the special course "Project technologies in the professional activity of a choreographer", which consist in the use of three types of computer presentations: presentation as an accompaniment to a report; presentation as a video clip; presentation as schematic animation (scribing). It was found that the visualization of the didactic process during the implementation of the special course "Project technologies in the professional activity of a choreographer" has a dual nature, since computer presentations of various types are created both by teachers and placed in the distance course environment, and by students during the performance of tasks.
A number of functions of visualization of the didactic process during the special course "Project technologies in the professional activity of a choreographer" in the process of professional training of future choreographers were determined: resource (each future choreographer has the freedom to choose resources for creating presentations: MS PowerPoint, Canva, Prezi, Piktochart, Google presentations, VideoScrib, PowToon, SparcolVideoScribe GoAnimate, Plotagon and many other programs and Internet services); interactive (the creation and demonstration of computer presentations contribute to interactive broadcasting as a form of choreographic-pedagogical activity, which involves the integration of future choreographer specialists in the process of working in project groups to develop a common approach to understanding and solving the problem of developing a choreographic product); informative (the creation and use of computer presentations on artistic and choreographic topics expands the informational field of every future choreographer specialist, which contributes to the acquisition and dissemination of choreographic and pedagogical knowledge among the student community); management (every future specialist choreographer is able to independently manage the process of his own professional training, effective search for information during the tasks of the special course "Project technologies in the professional activity of a choreographer", building knowledge on the use of project technologies by means of their visualization by means of computer presentation graphics, and as well as implementation of didactic, educational and developmental functions of the learning process); technological (every future specialist choreographer knows how to use computer presentation graphics in the choreographer's professional activity and is able to work with various application programs and Internet services for visualizing educational content); communicative (monitoring of completed tasks in the form of student conferences or forums promotes the development of communication skills of future choreographers); health care (on the slides of computer presentations, the future choreographer can emphasize the importance of health care for those who want to master the art of dance.
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Pidlypska, Alina, Iryna Gutnyk, Nadiia Gorbatova, Andrii Pidlypskyi, and Olha Bilash. "Theoretical aspects of the formation of the individual styles of teachers of choreographers in the process of obtaining second-level educational and third-level educational and scientific degrees in higher education." Multidisciplinary Reviews 6 (February 4, 2024): 2023spe004. http://dx.doi.org/10.31893/multirev.2023spe004.
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The article concretizes the scientific idea of professional training of choreographers. The specifics of the choreographers were determined, and the features of their professional activities were identified. The essence and structure of the individual style of the teacher-choreographer are revealed. The means that contribute to the formation of the individual style of teacher-choreographers in the process of professional training at a university have been identified. A system for forming individual handwriting has been developed for teachers and choreographers, and its use has been tested in the process of professional training. This article is devoted to analyzing the role of choreographic art in the formation and development of human personality. The author concludes that choreographic art acts as a sociocultural factor of creative activity and the development of a person's personality. It is established that the choreography is not only contributes to the development of an emotional feeling in the personality of the beauty of the real world but also to strengthen health, shapes posture, develops attention, memory, positively affects the general physical condition, and has a positive effect on the spiritual improvement.
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Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (July 1, 2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.
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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an AT-inspired dance methodology using a systematic somatic process to enhance physical, mental and emotional coordination for choreographers and dancers. I propose that AT expanded my attention moment-to-moment to develop my choreographic intentions and desires.
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Blahova, Tetyana. "FORMATION OF CONCEPTS OF PROFESSIONAL BALETMAYSTER IN THE CONTEXT OF DEVELOPMENT OF UKRAINIAN HOREOGRAPHIC EDUCATION." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 140–51. http://dx.doi.org/10.33989/2226-4051.2018.17.176293.
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The article analyzes the essential features of the profession of choreographer, substantiates the value of the artistic and pedagogical heritage of the outstanding Ukrainian choreographers of the 20th century in the development of choreographic education in Ukraine; their ballet master's works are summarized, leading tendencies of professional activity; A complex of innovative artistic and aesthetic principles of work in choreographic collectives is described.The ballet master's activity as a specific kind of artistic activity is interpreted as a complex multidimensional phenomenon in the field of professional choreography, which is embodied in the process of creative work with choreographic material. The diverse work of the well-known Ukrainian choreographers nourished the field of professional dance with scientific ideas and practical achievements, determined the strategies of its development, content, technologies, methods of work, becoming the driving force in the formation of theoretical and practical regulation of choreographic pedagogy. The retrospective of the ballet master's experience of Ukrainian choreographers allows us to generalize its specifics and determine the essential features and directions through the prism of creative activity of well-known representatives of this specialty. The content of the professional meanings of the Ukrainian choreographer combines a combination of the essential characteristics: of the philosophical and artistic position, individual choreographic handwriting, creative style, performing style, a set of expressive means. They are realized in different directions of activity. The well-known Ukrainian choreographers have substantially expanded the system of basic concepts of the choreography profession by synthesizing the achievements of several generations in the field of folk dance production, substantiating their authoritative technologies of his practical and theoretical generalization.
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Bigus, Olga. "Problems of cliche in the context of creativity of choreographer-director of modern dance." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 53–58. http://dx.doi.org/10.32461/2226-2180.39.2021.238683.
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The purpose of the article is to identify the specifics of the use of clichéd expressive means in the process of creating a production of modern choreography and to determine the ways to get rid of clichés in the context of philosophical and worldview types of choreographic life. Methodology. In order to identify the peculiarities of the use of clichéd means of expression in the performances of modern dance, the typological method, the method of structural-semantic and textual analysis was applied. Scientific novelty. The problem of the use of clichéd expressive means by choreographers-directors of modern dance is investigated; the features of the use of clichéd forms of visual expressiveness are considered on the basis of modern choreography productions; based on the analysis of the theoretical works of the leading choreographers of the 20th century. the approaches to avoiding the use of clichés in the process of staging modern dance have been identified. Conclusions. Certain lexical elements of modern dance, compositional features, and visual means of expressiveness of choreographic performances in their own semantics are clichéd, since, as a result of the frequent use of choreographers-directors (usually due to positioning as necessary elements of the text of the choreographic performance, which provide an easy and accurate way of transmitting the encoded information) have lost their imagery, and their semantic content has gradually decreased. In contemporary dance productions, the cliché is a kind of sign of the choreographic text, which has its own conceptual content and structurally organized form, providing a certain meaning to the concept placed in this cliché. This meaning can be interpreted as an element of the semantic system, the internal structure of which is associated with its relationship with other elements of this structure and reflect the system of connections and relationships between objects and phenomena of reality existing outside a separate sign in the form of a converted form of this objective content, which largely depends on the projected on the iconic image created by the choreographer of the viewer's social experience. The meaning of the choreographic cliché is considered as a result of the process of determination, when a “psychic image” appears in the viewer's mind, the presence of which is manifested through a visual signification and is fixed in the signs of the dance text. Changes in the content of the cliché as a sign (its meaning) create differences of an individual and social nature, reflecting the choreographer's ideas about the surrounding reality. The choreographer-director of contemporary dance comprehends and rethinks life in accordance with his own philosophical and worldview principles, revealing life concepts that are closer to a paradox and distant from the established logic. Seeing life as a force, the choreographer constantly strives for awakening in order to free himself from disciplinary individualizations.
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Kenzhetaeva, A. I., and N. F. Spinzhar. "The development of pedagogical competence of students-choreographers in the process of studying folk dance." Vektor nauki Tol'yattinskogo gosudarstvennogo universiteta. Seriya Pedagogika i psihologiya, no. 3 (2023): 19–26. http://dx.doi.org/10.18323/2221-5662-2023-3-19-26.
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The current state of the labor market dictates the necessity to develop personal and professional competencies in the current educational process of Kazakhstan. A modern specialist should both be educated and capable of generating knowledge and be able to respect and appreciate the opinions of other people, to negotiate with them to reach agreement, be active, emotional, communicative, and organized. Moreover, currently, much attention is paid to pedagogical competence in the professional training of a specialist – a future choreographer. The authors consider the development of personal and professional competencies of a future choreographer in the process of studying folk dance at the university as the main way to form pedagogical competence. Theoretical studies of the development of the future choreographer pedagogical competence in the process of studying Kazakh folk dance through the unity of the competencies identified by the authors – intellectual-pedagogical, communicative (empathy, extraversion), informational, and reflective – were carried out. The formation of these competencies helps in transforming knowledge about the content of Kazakh dance into knowledge about teaching and educating through Kazakh dance. Studying the history of national ballet art, analyzing its libretto, comparing and collating with modern national ballets will allow the future teacher-choreographer to reflect adequately in choreography the spiritual and moral foundations of national identity, culture, traditions, authenticity of epic traditions and awakening of national artistic and aesthetic consciousness. Through the involvement of students-choreographers in creative groups, creative thinking and personal qualities are awakened and activated, educational and creative activities are carried out, difficulties are overcome, and creative tasks are solved. The authors formulate proposals for the development of professional and personal qualities of students-choreographers. The authors consider the development and understanding of spiritual and cultural values, activity, self-analysis, performance skills of students-choreographers in the process of studying national dance at the culture and arts university as a solution to the problem of developing pedagogical competence.
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Lavrynenko, Svitlana. "FORMATION OF SOFT SKILLS OF THE FUTURE CHOREOGRAPHER IN THE PROCESS OF TRAINING IN ZVO." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 166–72. http://dx.doi.org/10.36550/2415-7988-2022-1-204-166-172.
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The paper studies the process of forming the soft skills of the future choreographer in the process of studying in the Free Economic Zone, which is an important element for ensuring future successful employment in the labor market. The interpretation of the essence of the category "soft skills" is analyzed and the main characteristics of soft skills are investigated. It is established that there are three categories of soft skills: social-communicative (communication skills, interpersonal skills, group work skills, communication ethics, work ethic, etc.), cognitive (critical thinking, problem-solving skills, innovative thinking, time management, etc.), personality attributes and components of emotional intelligence (emotional intelligence, honesty, optimism, flexibility, creativity, motivation, empathy, etc.). It is analyzed that the Standard of Higher Education in the specialty "Choreography" defines the full range of special competencies and learning outcomes of future choreographers. The process of forming soft skills in future choreographers through the analysis of the educational standard of their specialty is analyzed. A general overview of the educational components in the educational program "Choreography" from the standpoint of ensuring the formation of soft skills. The disciplines of the specialty "Choreography" are analyzed, which are aimed at the formation of various soft skills in future choreographers. The discipline "General Theory of Morality and Professional Ethics" is analyzed in the perspective of its ability to directly form the soft skills of the future choreographer, which contributes to the formation of communicative competencies. It is established that the most significant in the formation of communicative competencies are personal indicators in several areas: individual-personal, communicative, socio-psychological, moral and political. It is established that the communicative culture of students during the study of the discipline "General Theory of Morality and Professional Ethics" as an integrative personal education, where its structure distinguishes indicators: cognitive criterion, emotional value criterion, behavioral criterion. It is determined that after completing the training program, future choreographers on the basis of the competence approach should develop soft skills in three profile dimensions Creating (CREA), Performing (PERF) and Appreciating and Analyzing (APAN).
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Huang, Aiyun. "La vie qui bat: Steve Reich’s Drumming and Dance Choreography." Circuit 27, no. 2 (August 21, 2017): 27–40. http://dx.doi.org/10.7202/1040875ar.
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The music of Steve Reich has been widely written about. In this article I will focus on choreographies set to live performances of Drumming (1971). Drumming is perhaps Reich’s most important early work and a culmination of his various musical explorations and compositional techniques. I have selected three choreographers: Laura Dean, creator of the first choreography set to the music of Drumming (1972); Anne Teresa De Keersmaeker, a choreographer whose works such as Drumming (1998) share Reich’s underlying principle of structures as processes; and Ginette Laurin, whose La vie qui bat (1999) was a joint production between Montreal dance company O Vertigo and the Société de musique contemporaine du Québec (smcq). As this issue celebrates smcq’s 50th anniversary, this article will center on the making and performance practice of La vie qui bat. In preparing this article, the author interviewed Russell Hartenberger (Steve Reich and Musicians), Ginette Laurin, and Walter Boudreau (Artistic Director of the smcq).
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Кovalenko, Oleksandr. "DIDACTIC FUNDAMENTALS OF MUSICAL TRAINING OF FUTURE CHOREOGRAPHY SPECIALISTS IN DOMESTIC HIGHER EDUCATION INSTITUTIONS." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (March 31, 2021): 91–97. http://dx.doi.org/10.31499/2307-4906.1.2021.228723.
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The article considers the didactic conditions of musical training of choreographers in higher education institutions of our state. In this work the structural didactic features of musical competence of choreographers are defined, such as: feature of professional activity planning; ways and methods of performing professional activities; communication techniques; organizational skills of choreographers; features of dance and motor motility. The article also states that the author considers an individual approach to take into account the ways of adapting the properties of studentsʼ nervous system to the requirements of professional activity as an effective method of musical training of choreographers in domestic higher education institutions. The article also deals with an individual approach, which takes into account the individual differences of students, the development of techniques, tools and methods of forming professional and musical skills of choreographers, due to the typological properties of the nervous system. At the heart of the individual approach considered in the study there is the idea of understanding a developing student as a person with a unique set of individual qualities. This involves the recognition of different, but equivalent in effectiveness methods of educational and creative activities that meet the objective requirements of the professional activity of the teacher and the individual characteristics of the future specialist.Also, in this paper, it is noted that in pedagogical science didactics is connected with the methods of teaching courses. The method of teaching folk dance is somewhat different from other choreographic disciplines due to the specifics of national dance. All textbooks, programs and methodical materials on folk choreography are authorʼs versions and naturally cannot be accepted by all experts identically.
Keywords: musical training, music theory, choreographer, professional training, didactics, didactic bases of training, professional skill, systematic approach to musical training.
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Androshchuk, Liudmyla, Tetiana Medvid, Tetiana Blahova, Oleksandr Zhyrov, and Olha Bykova. "Training of Choreographers in Higher Education Institutions." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 14–27. http://dx.doi.org/10.15294/harmonia.v23i1.43559.
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The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. The basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. The article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. The obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions.
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Maghfudzah, Kamilia, and Herlinda Mansyur. "RINTIHAN." Jurnal Sendratasik 9, no. 1 (February 13, 2020): 80. http://dx.doi.org/10.24036/jsu.v8i3.108099.
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Abstract The "Moans (Rintihan)" artwork aims to elevate personal life into motion elements, create dance artworks, stimulate art performers to increase creativity in art and express the experience of writers as beginner choreographers in the field of dance art creation. The form of presentation in the “Moans (Rintihan)" artwork was representational. The “Moans (Rintihan)" artwork depict family activities that began with a beauty and harmony of the family that end in something not as expected. In this work, the choreographers used movements that have meaning and pure motion that had been distributed with motion techniques adapted to the theme, so that the designs of motion have strenght that could be used as starting points in the work, the most preferred in this work was aesthetic of the motions, full of soul and artistic motions, since the dance is also the choreographer’s priority.Keywords: Rintihan
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Buh, Maša Radi. "Young choreographers facing unfavourable conditions: Interview with choreographer and teacher Maja Delak." Maska 34, no. 196 (September 1, 2019): 76–87. http://dx.doi.org/10.1386/maska.34.196-197.76_7.
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The first part of the interview with Maja Delak opens the question of the development and responsiveness of contemporary dance educational programmes in Slovenia, including the problem of pursuing the studies after the secondary level. In the second part, it touches upon the conditions that once shaped the formation of choreographers and dancers in Slovenia and the ones that do so today, while outlining a concept for future development.
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Satkunaratnam, Ahalya. "Staging War: Performing Bharata Natyam in Colombo, Sri Lanka." Dance Research Journal 45, no. 1 (April 2013): 81–108. http://dx.doi.org/10.1017/s0149767712000319.
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This article is an ethnographic study of Bharata Natyam choreographies performed in venues across Colombo, Sri Lanka, during the ethnically divisive civil war. The compositions reveal the strategies of female choreographers who are using dance to address the war in a climate that often silences citizens from discussing the topic in public. I illuminate the discreet negotiations of ethnic identity taking place within choreographies, informed by circulating meanings ascribed to the dance, the ethnic compositions of the bodies dancing and watching, and the shifting experience of living in the city during an escalating civil war.
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Khabarova, T. A. "MODERN CHOREOGRAPHY AS A UNIVERSAL MEANS OF FORMING A CREATIVE PERSONALITY." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 90 (2023): 54–58. http://dx.doi.org/10.37313/2413-9645-2023-25-90-54-58.
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Subject of the article: creativity and creativity as a process of development of a choreographer's personality in choreographic art. The object of the article: choreographic art and its special role in the development of a creative personality. The purpose of the project: to update information about the methods and forms of plastic work of choreographers in professional choreographic collectives. This article focuses on the fact that creativity and creativity in modern dance are the main base, which in turn forms an active creative personality. In the conditions of the modern world, where special attention has recently been paid to the development of human creative activity, the creative process is one of the main lines on which innovative transformations are built and implemented. A creative personality can develop in many ways, and modern dance is one of them. They identify the stages of its development on the example of the work of the most famous choreographers, as well as innovative.
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Elswit, Kate. "“Berlin … Your Dance Partner Is Death”." TDR/The Drama Review 53, no. 1 (March 2009): 73–92. http://dx.doi.org/10.1162/dram.2009.53.1.73.
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Dance and death combined in post-WWI Germany to complicate the material authority they were seen to share. Using nascent modern dance techniques to exploit the expressive capacities of the dancing body, choreographers turned to dances of death to portray the increasingly difficult conditions of humanity. The logistics of performing these spectacles of the real are investigated through three choreographer/performers of the Weimar Republic: Kurt Jooss, Valeska Gert, and Anita Berber.
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Djan, Syao. "THE CONCEPT OF PROFESSIONAL SKILLS OF CHOREOGRAPHERS AS A SYSTEM." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (March 31, 2021): 107–12. http://dx.doi.org/10.31499/2307-4906.1.2021.228725.
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This article discusses the concept of “professional skills of choreographers” as a system. The paper notes that choreography, being one of the spatio-temporal arts, is changing in accordance with the development of social relations and the requirements of today, which highlight the return to universal values, deep folk traditions and culture. Preservation of cultural values takes place in the socio-cultural sphere and is carried out by specialists in the field of choreography. The article considers the need to determine the criteria of professional skill of choreographers in the conditions of free educational institutions and institutions of culture and arts on the basis of a systematic approach, which will fix the insufficiency of old, traditional teaching methods for setting and solving new pedagogical tasks. This paper states that the definition of “professional skill” from the standpoint of a systems approach means understanding it not as a set of individual skills and techniques, but as a system that is in the unity and relationship of components determined by the general and professional development of the individual. The system approach designed in our research corresponds to didactic laws and principles, and also includes a complex of methods, forms, means of the organization and realization of educational process, organizational and methodical procedures and is directed on formation at choreographers of all components of professional skill during their training in higher education institutions. The article also emphasizes that the repeated and continuous application of the principles of a systematic approach to the formation of professional skills of choreographers will ensure a stable result in the educational and creative process of higher education institutions and cultural and arts institutions for training young professionals. improvement of choreographic education and choreographic art.
Keywords: choreography, choreographer, professional training, system, system approach, professional skill, professionalism.
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Birringer, Johannes. "Dance and Interactivity." Dance Research Journal 36, no. 1 (2004): 88–111. http://dx.doi.org/10.1017/s0149767700007580.
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A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-based animations find their historical roots in late nineteenth century motion studies in chronophotography and early cinema (Muybridge, Marey, Méliès). Furthermore, dancemakers, researchers, and teachers have used film or video as a vital means of documenting or analyzing existing choreographies. Some scholars and software programmers published tools (LabanWriter, LifeForms) that attracted attention in the field of dance notation and preservation as well as among choreographers (e.g., Merce Cunningham) who wanted to utilize the computer for the invention and visualization of new movement possibilities.
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Melovatskaya, Anna. "The reconstruction of the “Naughty Couplets” ballet of the choreographer G. Malkhasyants." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 67–74. http://dx.doi.org/10.7256/2453-613x.2020.6.34274.
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The research subject is the period of the 1960s - the 1970s - the period of flourishing of the Soviet ballet theatre. During this period, in many theatres of the Soviet Union, choreographers-pioneers were working whose creativity was based on the commitment to traditions and readiness to propose their own vision of the development of ballet theatre. The article considers the early period of work of one of “the men of the sixties” - a choreographer Gennady Malkhasyants (1937 - 2008). The author of the article reconstructs one of his earliest plays - the ballet “Naughty Couplets” staged in 1974 in Voronezh Opera and Ballet Theatre. The ballet was a part of an one-act ballet recital. The novelty of the research consists in the fact that it introduces into the scholar discourse the materials of the personal archive of the choreographer. The topicality of the research consists in the necessity to analyze the creative work of choreographers-directors, to reconstruct the plays which are not performed any longer and haven’t been recorded. In the 1970s, G. Malkhasyants was developing various choreographer’s techniques and director’s principles of the composition of a dance. So far, the creative work of G. Malkhasyants almost hasn’t been studied. The knowledge of the materials and the creative process of G. Malkhasyants gives the opportunity to trace back the main tendencies and, probably, to find the new ways of development of the modern art of choreography.
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Zamorska, Magdalena. "Choreografie antropocenu, czyli o materiach wprawiających w ruch." Prace Kulturoznawcze 22, no. 1-2 (January 15, 2019): 113–28. http://dx.doi.org/10.19195/0860-6668.22.1-2.8.
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Choreographies of the Anthropocene: Mobilising matterA point of departure for the author is thesis proposed by T.J. LeCain, who studied anthropocentrism hidden in a very nucleus of debate about antropocene. One should, in his view, comprehend and analyse culture and technology as the part or the product of a matter. The “human age” initiated in the age of the industrial revolution driven with fossil fuels turns out to be an effect of transformations, of which coal is a chief perpetrator. The turn from anthropo- to carbocene let us examine factors which are the underlying reason for development of industrial-information society. The very material factors retaining wide understanding of the term “matter”, which can also include the temperature or the gravity are called to the scene, and then embodied or set in motion by choreographers — Mette Ingvartsen, Agata Siniarska and Aleksandra Borys — who try to problematize in their works the issue of dispersed, material agency. In her text the author examines how the problems essential for anthropocene and carbocene debates are being choreographed.
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Pavinskaya, Kristina Vladimirovna. "Dynamics of students-choreographers’ readiness for health care activities after their participation in the educational program «Health saving in choreography - the basis of professional longevity»." Samara Journal of Science 9, no. 1 (February 28, 2020): 268–73. http://dx.doi.org/10.17816/snv202091309.
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The paper presents the results of an empirical study of readiness indicators for health-saving activities of students-choreographers after participating in the educational program Health-saving in choreography - the basis of professional longevity as well as professionals (teachers and choreographers) who have been trained in the program of additional professional education and have 3-year experience in health-saving activities. The research work with students-choreographers was carried out from 2012 to 2017 on the basis of Institute of Contemporary Art. The analysis of the initial level of students-choreographers and professionals readiness for health-saving activities presented in the work showed that the group of professionals (teachers and choreographers) differs in the level of readiness for health-saving activities from students-choreographers. The paper presents diagnostic tools that made it possible to evaluate readiness indicators for health-saving activities of students-choreographers after their participation in the educational program Health-saving in choreography - the basis of professional longevity. The paper also contains the results of a statistical analysis of the research data.
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Biagioli-Ravetto, Mario, and Kriss Ravetto-Biagioli. "Riffing off intellectual property in contemporary dance." International Journal of Cultural Property 29, no. 2 (May 2022): 201–16. http://dx.doi.org/10.1017/s0940739122000091.
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AbstractDance disappears the moment it becomes visible, the complexity of its ontology matching that of its production and of its intellectual property status. Its creative process is both collaborative and hierarchical, involving the transmission of knowledge from one body to another, remembering steps, recognizing moves, mimicking, and improvising gestures as well as coordinating the roles of dancers, choreographers, and studios. Matthias Sperling’s Riff (2007) directly addresses many of these issues, which inform the specific content of the piece as well as its conceptualization, development, and the copyright licenses that underpin it. Sperling’s performance is clearly conceived as a rite of passage, a dance through which a dancer becomes a choreographer, going from “riffing off” other choreographers’ work to developing dance movements and phrases that, while tied to those of his predecessors, he can claim as his own. As such, Riff makes explicit and rearticulates the rearrangement of professional relations and roles, the difference between reperforming and innovating, between learning from bodies or from media, as well as how the property status of the work intersects with community norms and expectations of attribution.
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Siegel, Marcia B., and Millicent Hodson. "Restaging Works from the Ballets Russes: A Conversation between." Experiment 17, no. 1 (2011): 345–74. http://dx.doi.org/10.1163/221173011x611996.
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Abstract Critic Marcia Siegel and choreographer Millicent Hodson discuss problems of putting lost or nearly forgotten 20th century ballets back on stage, focusing on questions of authenticity, interpretation, choreographic process and documentation through direct contact with Diaghilev's dancers. The discussion refers specifically to reconstruction of ballets by Nijinsky and Balanchine which Hodson has done with scenic consultant Kenneth Archer during the last years when Ballets Russes artists still survived to pass on their knowledge. Siegel extends the discussion to Diaghilev's other choreographers, Fokine, Massine and Nijinska.
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Melovatskaya, Anna E. "The Performance “Memory” in the Context of the Creative Searches of the Soviet Ballet Theater of the 1960s—1970s." Observatory of Culture 19, no. 6 (December 30, 2022): 659–67. http://dx.doi.org/10.25281/2072-3156-2022-19-6-659-667.
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The period of the 1960s—1970s was the heyday of the Soviet ballet theater. At that historical stage, a whole generation of innovative choreographers worked in many theaters of the USSR, and their work was based on loyalty to traditions and willingness to present their own vision of the ballet theater development. The article addresses the past of the Soviet ballet theater and examines the early period of creativity of G.G. Malkhasyants (1937—2008), one of the choreographers of the sixties. The author reconstructs the ballet “Memory” — one of his early performances, staged at the Voronezh Opera and Ballet Theater in 1973. The performance was the opener of the One-Act Ballet Evening. The second performance was “Carmen Suite” by G. Bizet — R. Shchedrin, and the final of the Evening was “Naughty Ditties” by R. Shchedrin. The purpose of the reconstruction of the ballet, which has left the stage and does not have a video recording, is to determine the context of the era during which the performance was staged, and to recreate the very image of the performance.G.G. Malkhasyants’ creativity has hardly been studied; scientific work in this direction has just begun. For the first time, the article uses materials from the choreographer’s family archive — newspaper reviews, pre-premiere and premiere reports, photos from rehearsals and performances, handbills and announcements of performances. The relevance of their introduction into scientific circulation lies in the need to analyze the works of innovative choreographers of the second half of the 20th century, in particular — to reconstruct performances that have left the stage and do not have a video recording.In the 1970s, G.G. Malkhasyants put into practice his own idea and understanding of the staging process in choreography and developed various choreographic techniques and directing principles. His work reflects the continuity of the generation of choreographers of the 1960s in relation to the ballet theater of the 19th — first half of the 20th century and proves the need to rely on traditions and achievements of choreographers of the past. Considering G.G. Malkhasyants’ creative searches and experiments, it is possible to trace the main trends in the development of the Russian ballet theater of the second half of the 20th century. The study helps to understand the prospects for the modern choreographic art development.
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Kasimanova, L. A., and In Boven. "Content of professional training of teacher-choreographers in China." SHS Web of Conferences 97 (2021): 01026. http://dx.doi.org/10.1051/shsconf/20219701026.
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The article is devoted to the analysis of the state of modern professional training of teachers-choreographers in China. The article presents the authors’ vision of modeling the content of modern professional training of choreographers. The analysis of the existing literature on the topic of the research made it possible to determine the tendencies and patterns of modern professional training of teachers- choreographers. Considering in the study the problems of training teachers of the artistic and creative direction, namely, teachers-choreographers, to solve professional problems, we proceed from the fact that their professional training should be aimed at mastering the teacher’s professional competencies, as well as deep knowledge and skills in the field of choreographic art The rationale for this is the demand for teachers- choreographers in the modern labor market in the field of education - in its various segments (preschool, school, professional, general and additional, as well as in the field of educational leisure). The analysis presented in the study confirms that the content of professional training of teachers - choreographers remains largely at the same level and does not meet modern requirements. The study is devoted to the peculiarities of the organization of the educational process, the content of professional training. Professional training is carried out in the direction of “Pedagogical education” with an appropriate profile, however, in this case, the actual choreographic training of students is significantly limited. We consider it important to note that the art of dancing, which is the subject of professional training for teachers-choreographers, should be considered as an artifact of modern culture, bearing all its inherent features, is the main tool for their professional training. The vector of building an educational cluster is its social demand, which sets the attractors of the development of the content of modern professional training of choreographers and pedagogues. Modern professional training of teachers-choreographers is, first of all, a system of preserving cultural traditions of which students-choreographers master the basis in the learning process, bringing their own understanding and understanding creating their own, new, modern choreographic culture.
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Pavinskaya, K. V. "COGNITIVE ASPECT OF STUDENTS-CHOREOGRAPHERS' READINESS FOR HEALTH-SAVING ACTIVITIES." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 90 (2023): 38–46. http://dx.doi.org/10.37313/2413-9645-2023-25-90-38-46.
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The article is devoted to the diagnostics of the cognitive component of the readiness of students-choreographers for health-saving activities. The purpose of the article is to assess the initial level and integrity of students-choreographers' knowledge about professional health and health-saving activities in choreography and to experimentally test the course of problematic lectures "Aspects of professional health and factors of professional ill health of choreographers" (as an interactive method of teaching students-choreographers healthy professional activities). The article reveals the internal component of the cognitive aspect of the readiness of choreographers for health-saving activities, defines the criteria for the formation of the cognitive component of readiness for health-saving activities. Indicators of the information-demand criterion of readiness for health-saving activities have been identified and studied. The results of diagnostics of the cognitive component of readiness for health-saving activities of 1-4 year students-choreographers and specialists (professionals) of teachers and choreographers at the ascertaining stage and the results of diagnostics of the cognitive component of readiness for health-saving activities of 1-4 year students-choreographers of the experimental group before and after the experiment are presented. formative stage. Using the Mann-Whitney method between E1 and E2, differences were established in terms of the level of expression of: - knowledge (U=294; p≤0.01); needs (U=226; p≤0.01). The study showed that despite the initial ignorance of students-choreographers about health-saving issues, their nature and depth of knowledge about professional health and health-saving activities in choreography depend on the purposeful formation of the cognitive component of readiness for health-saving activities with the help of a course of problematic lectures “Aspects of professional health and factors of professional ill-health of choreographers” and psychological impact on the emotional sphere of students' personality through video and audio materials reflecting the world statistics of the consequences of the problems discussed.
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TKACHENKO, M. "PEDAGOGICAL CONDITIONS OF FORMATION OF READINESS OF FUTURE CHOREOGRAPHERS FOR APPLICATION OF PROJECT TECHNOLOGIES IN PROFESSIONAL ACTIVITY." Pedagogical Sciences, no. 79 (September 19, 2022): 101–5. http://dx.doi.org/10.33989/2524-2474.2022.79.264558.
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The process of revival of spiritual and national culture puts forward new requirements for the professional training of artistic and pedagogical staff, including choreographers, the development of their professional competencies, creative abilities and the use of new technologies in teaching children and youth the art of dance. The use of project technologies as a form of organization of the educational art process helps to create conditions for self-knowledge, self-realization and reflection of students, providing opportunities to find themselves, to stand on the path of independent productive action, which improves the quality of self-education. thinking, enrichment of the empathic-sensory sphere of the student, independence of students in solving creative tasks, intellectualization of the educational artistic process.The special course “Project technologies in the professional activity of a choreographer” is aimed at the ability to think in choreographic images and create countless different dance compositions, to feel and reproduce various movements, gestures, poses, people of different characters, to have excellent memory and keen eyesight. errors in the mass of dancers. In the process of the special course each direction of choreography, its features, inherent in the national environment and nationality of the performer are considered.The requirements for the work of the future choreographer based on the use of project technologies in professional activities are outlined. Examining the experience of using a practice-oriented approach to the formation of pedagogical competencies in the future choreographer in the process of professional training, we found that this approach is associated with the creative nature of professional and pedagogical activities of the choreographer.We consider the application of project technologies in the professional activity of future choreographers as one of the optimal components of forming an independent creative position of students in the process of working with educational choreographic groups.
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Uaidullakyzy, Elmira, Negmatzhan Sh Almetov, Sholpan Zh Turdaliyeva, Akmaral B. Aitzhanova, and Gulmira M. Musakhanova. "Formation of professional mobility of future specialists in the process of choreographic education." Cypriot Journal of Educational Sciences 16, no. 4 (August 31, 2021): 1680–703. http://dx.doi.org/10.18844/cjes.v16i4.6050.
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One of the main conditions for the success of students of the specialty "choreography" in the modern labor market is professional mobility. This article is therefore aims to address the problem of forming professional mobility in higher educational institutions. The essence and significance of the formation of professional mobility of students of the specialty "choreography" was determined by the methods of analysis of psychological, pedagogical, scientific-methodological and special literature. Through the analysis of educational programs of Bachelor's degree in "choreography" in higher educational institutions, new opportunities and content for the formation of professional mobility of future choreographers are identified. With the help of systematization and evaluation methods, the results of improving the formation of professional mobility of students studying in the educational programs "choreography" were summed up. It was concluded that the formation of professional mobility of future choreographers should be a purposeful and systematic process, covering all stages of students' assimilation of educational programs, and must be guided by the achievement of high indicators of the formation of professional mobility.
Keywords: choreographic education, future choreographer, professional mobility, University, content of choreographic education, formation of professional mobility
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Bigus, Olga, Oleksandr Chepalov, Iryna Herts, Liudmyla Mova, Liudmyla Khotsianovska, and Olha Babych. "Trends in the Development of Choreographic Education in Ukraine in Conditions of Digitalization: Standards, Innovative Models." Journal of Curriculum and Teaching 12, no. 5 (October 16, 2023): 112. http://dx.doi.org/10.5430/jct.v12n5p112.
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The aim of this work is to analyze the trends in the development of choreographic education in Ukraine in the context of digitalization, as well as to identify standards and innovative models for further development. Scientific methods of analysis, synthesis, and deduction were used to study the mentioned problems. The results demonstrated the current standards of training of choreographers in Ukraine, the peculiarities of the implementation of digitalization, and its impact on innovative methods of teaching choreography. The importance of using the European experience in the formation of cooperation between educational institutions and potential employers has been proved. The indicated borrowing of experience will make it possible to adapt the Ukrainian training conditions of choreographers to modern educational trends, harmonize individual stages of training and generally increase its level, quality and balance. In Ukraine, the unique approach to innovative choreographer training lies in imparting a diverse range of combinations, predominantly showcasing Ukrainian choreographic displays enriched with a harmonious blend of European traditions. The conclusions noted that further relevant trend of innovative development of choreography education in Ukraine will be attempts to harmonize the Ukrainian and European training systems.
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Mansyur, Herlinda. "Dismantle Rules of Lighting In Dance Creation." Gondang: Jurnal Seni dan Budaya 6, no. 2 (January 21, 2023): 337. http://dx.doi.org/10.24114/gondang.v6i2.42539.
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This research aims to provide a new discourse to the younger generation about the world of creating dance works. The field of development dance work creation has resulted in new discoveries ranging from creation methodologies to movement techniques that require dancers to improve fast. A choreographer must investigate every dance element that has been "considered" as a support in a dance performance, in addition to the body. These elements include music, clothing, make-up, lighting and artistic performances. The author, a choreographer, has created a lighting system for composing and staging the dance works he creates, one of which uses light from ultraviolet lamps, which can provide a different visual impact than the use of spotlights in dance performances. This research was internal research because this approach was a reconstruction of the author's thoughts on the lighting exploration process in every work process. The development of lighting in the staging of dance works should provide creative discourse for young choreographers in their work. So that young choreographers do not rely exclusively on exercise to create new movements. The stages of exploration involved in processing lighting vary significantly from the process of exploring the body. Lighting exploration focuses on using ultraviolet light on objects that are presentations of ideas and creative ideas. As a result, the author's development of elements that are "considered" supporters in a dance performance was presented in several dance works. Combining body techniques with ultraviolet-ray-irradiated objects takes dance performances to a new level.
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Pavinskaya, K. V. "METHODS OF INCREASING MOTIVATION FOR CHOREOGRAPHY LESSONS IN STUDENTS OF HIGHER EDUCATION INSTITUTIONS OF CULTURE." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 47–54. http://dx.doi.org/10.37313/2413-9645-2023-25-92-47-54.
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This article touches upon the problem of motivation for the activities of students-choreographers of universities of culture and art, without which the most effective pedagogical methods and technologies do not bring the desired result. The problem is relevant for the system of higher choreographic education. The paper considers the methods of stimulating motivation for activity, which, in the author's opinion, bring the greatest benefit in the formation of motivation for choreographic activity. The revealed methods are tested during the ascertaining and forming experiment in the system of higher education of choreographers. The author gives statistical data of the changes that have taken place with the motivation of choreographer students to work, after the introduction of a set of selected methods for stimulating motivation. Analysis of the data shows that during the experiment the number of students with a positive motive for activity in the second and third year of the Samara State Institute of Culture increased significantly and the number of students with a negative motive for activity decreased (from 53% to 0%) and (from 66% to 0 %). For first-year students, the changes are not statically significant, due to the fact that a positive motive for activity was observed among choreographer students in the first year of study and amounted to (89%). This led to the conclusion that the primary task of a teacher of a modern university will be to promote the emergence of positive motives for activity, before introducing new methods and technologies for teaching students.
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Hebert, Carolyn. "Mini & Macho, Small & Sexy: The Perpetuation of Heteronormativity, Hegemonic Masculinity, and Femininity Within the Culture of Competitive (Jazz and Hip-Hop) Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 208–16. http://dx.doi.org/10.1017/cor.2016.28.
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This paper critically assesses the expectations of competitive jazz dance adjudicators and the effects of these expectations on the presentation of gendered and sexualized dance choreographies by private dance studios. Expectations for competitive dance students with regard to technical ability, execution of choreography, and age/gender (in)appropriateness are unclearly articulated by competitions and adjudicators throughout Canada and the United States. Nevertheless, parents and students enter into private dance studios with pre-conceived notions of what it takes to “win” at competition and demand that their training and choreography reflect this. The onus is on dance teachers and choreographers, then, to adhere to this rapidly evolving culture of dance competition, or otherwise risk losing customers and funds.This paper critically examines current trends in competitive jazz and hip-hop dance through interviews and conversations with three professional competition dance adjudicators. As a competitive dance studio choreographer and researcher, I question the role that competitive dance culture plays in the gendering and sexualization of amateur dancing bodies. Ultimately, what are the implications of the perpetuation of heteronormativity, hegemonic masculinity, and femininity through the dances created for competition on adolescent dancing bodies? What other options are available for private competitive dance studios wishing to simultaneously participate in and disrupt this culture without losing their businesses?
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Aldape Muñoz, Juan Manuel. "Love and Theft in Dance Economies." Performance Philosophy 8, no. 2 (June 25, 2024): 223–48. http://dx.doi.org/10.21476/pp.2023.82485.
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The emergence of blockchain dance tokens is reshaping the dynamics of race in short-form dance videos within digital economies. While blockchain technologies primarily have been associated with cryptocurrencies like bitcoin, they are changing the arts sector, particularly dance and choreography. This transformation has significant implications for understanding the valorization of Black labor and aesthetics. By examining two distinct choreographic initiatives, we can grasp the profound impact of blockchain cultural production and distribution ecosystems. One example is the work of JaQuel Knight, renowned for choreographing iconic music videos, including Beyoncé’s. Knight's efforts to copyright his dances and empower Black choreographers reflect a shift towards artist ownership of dance steps. Another case study involves the Renegade dance, initially popularized on TikTok. Despite its viral success, choreographer Jalaiah Harmon struggled for recognition. Now, with the advent of dance Non-Fungible Tokens (NFTs), artists can monetize their work and bridge the gap between labor and circulation. These innovative legal and financial pathways mark the emergence of crypto-choreographies, enabling Black artists to reimagine and carry out a post-extractive dance world. This transcends conventional debates of dance appreciation versus appropriation, signaling a transformative shift in aesthetic economies and the limits of choreographic copyright law.
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Lan, Oksana. "SOFT SKILLS OF A MODERN YOUNG CHOREOGRAPHER WHICH ARE NECESSARY FOR CREATING A COLLECTIVE ART PROJECT." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 178–84. http://dx.doi.org/10.36550/2415-7988-2022-1-204-178-184.
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Modern art space, which is formed by interpenetration and synthesis of arts, requires not only professional knowledge and skills, but also the education of a new person today, especially in the realities of modern Ukrainian society. The transformation and genesis of choreographic art requires the emergence of a new figure of the choreographer - artist, creator, scientist. In the context of the importance of collective creativity in general, a creative project co-authored by a group of choreographers will be a special form of communication, because it involves the interpervasion of creative energies in a team of individuals. Besides professional skills, universal human qualities are taken into, which will affect the relationship and the result of work - Soft Skills. Among the special skills, the author points out a worldview and emotional intelligence and draws attention to communication and tolerance, which are manifested in social connection processes, in particular in psychological interaction, especially when it comes to the process of carrying out a creative choreographic project. The list of components of emotional intelligence includes self-awareness, self-regulation, motivation, empathy, and other social skills for establishing a relationship. In the context of the spiritual development of the individual, attention is paid to one of the important soft skills of a modern young choreographer - empathy. The stages of collective creative work (according to Ivanov) are "infecting with an idea", planning, carrying out, analysis, summarizing, future aftereffects that can be used for the process of creating a collective art project by a group of co-choreographers. For each of the stages the corresponding soft skills of the young choreographer are offered. In general, the following qualities and skills are distinguished, for example: ability to work in a team, stress resistance, creativity, developed imagination to create images, motivation, planning skills, methodology, time management skills, discipline, critical thinking, information retrieval skills, ability to research, desire learn and improve.
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Lytvynenko, Viktor. "Aesthetic reflection of the labor process of production in the art of folk stage choreography of Ukraine." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 70–74. http://dx.doi.org/10.32461/2226-2180.39.2021.238690.
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The purpose of the article to research the creative work of choreographers of Ukraine, who devoted a significant role in the staging work to dances on a labor theme. Relying on a certain historical concreteness, they accurately reflected different aspects of the relationship of people and classes in work with the expressive means of choreography. Most of them reflect the artistic images of people for whom work is the first vital need, a source of creative joy, and a sacred duty to society. Therefore, the content of their works was a love of work, a creative attitude towards it, a constant desire to improve their work, to increase their contribution to the common cause. The modern world has, to some extent, changed the attitude and attitudes of people in production, as well as their attitude to work. Therefore, artists-choreographers face new tasks in creative work on the creation of dances on a labor theme, and at the same time in reproducing life problems that concern a modern working man. The research methodology is based on the use of comparative and art historical methods. This methodological approach allows us to reveal and analyze the features and significance of dances on labor topics, which were staged by famous Ukrainian choreographers in folk stage choreography. The scientific novelty of the work lies in expanding the process of the creative associative imagination of the choreographer-director, using the images of workers from the people choreography, first of all, he must study and analyze well how people, their morals, way of life, technology have changed in the new conditions of society. New life gives birth to new dances, new plots, new choreographic compositions. Conclusions. When staging a folk-stage dance on a labor theme, in which the main character is the folk image of a worker, the choreographer, combining various arts in musical-plastic synthesis and possessing all the expressive means of dance, must understand well that the image of a single worker-worker is not the traits of a real person are simply written off; this is a generalized, typified image of a certain group of working people. In some cases, these generalizations in scale may be the face of the workers of an entire large enterprise. Thanks to the artist's creative work, the artistic images of workers reflect not only the production process, their relationship in production, but also form the national consciousness of society.
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Tian, Yayuan. "Modern Demands and Strategies of Dance Choreography." International Journal of Education and Humanities 11, no. 3 (December 13, 2023): 487–92. http://dx.doi.org/10.54097/ijeh.v11i3.15155.
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With the vigorous development of China's dance industry and the expansion of the dance market, the demand for choreographers continues to increase. Many choreographers work in areas such as dance education, dance companies, and stage theatre companies. At present, choreographers in China are facing multiple challenges and opportunities. On the one hand, they need to constantly expand their creative field and create works that are well received and recognized by the audience. On the other hand, they also need to work closely with other artists such as dancers, musicians, and stage teams to achieve artistic synergy in the dance works. The purpose of this study is to provide some effective strategies and requirements for modern choreographers to improve the choreographing ability of choreographers and teachers. With the prosperity of the domestic dance market, some choreographers have also actively participated in international exchanges and cooperation to promote Chinese dance culture and artistic image. However, more and more people are learning dance, and students who enter universities in the form of art examinations have low understanding and choreography ability of dance, and the research results show that there are many differences in the teaching of university teachers from non-professional backgrounds (the non-majors here are teachers who have begun to learn dance and engage in dance education in high school), in this regard, we put forward some strategies and requirements, how to improve teachers' choreography ability, and evaluate teachers' current choreography ability according to the current domestic teachers' test results in modern dance choreography, The significance of this study is to provide information about teachers' choreography bottlenecks and some strategies and requirements, hoping that leaders and teachers engaged in choreographic education can provide useful reference value, and finally this study is expected to help improve the creativity and bottlenecks of choreographers. Bring better better teaching and value to students.
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Dicenzo, Maria, and Jim Ellis. "In Review." Canadian Theatre Review 101 (January 2000): 93–95. http://dx.doi.org/10.3138/ctr.101.015.
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Allegro molto con brio king kong, subtitled “a digital opera,” is a complex and compelling mixture of dance, video, live music and pre-recorded singing. Ultimately based on the Prometheus legend, the opera is an investigation of the intersections between technology, culture and myth in the modern era. Allegro premiered 8-10 April 1999 at Dancers’ Studio West in Calgary, part of a season that featured the work of emerging Alberta choreographers. The principal collaborators were Doug DeRoche, who wrote the libretto, choreographer Danielle McCulloch and composer Kenneth Doren, who was also responsible for the original concept and for the various multimedia aspects of the production.
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Petkovski, Filip. "Choreography as Ideology: Dance Heritage, Performance Politics, and the Former Yugoslavia." Dance Research Journal 55, no. 1 (April 2023): 98–119. http://dx.doi.org/10.1017/s0149767723000013.
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In this article I discuss the process of choreographing “traditional” and “folk” dances in the former Yugoslavia, aligned with Yugoslav socialist ideologies that glorified the collective cultural authorship of the people, which allowed for these dances to adopt a new dimension as they took the form of a choreographed spectacle. I explain how Yugoslav choreographers utilized archival research to create a repertoire of choreographic representations of Yugoslav identity in constructing what I theorize as heritage choreography. Reflecting on how ideology moved the collective body of the Yugoslav people through choreographed works deemed as heritage, I broaden the understanding of choreographing that differs from Western concert dance practices. Furthermore, I provide alternative examples of dance making that are rooted in local understandings of spectacle, thereby enriching the conversation about what the act of choreographing entails.
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Bührle, Iris Julia. "Three Hamlet ballets from World War II to the Ukrainian crisis." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 31, 2020): 69–86. http://dx.doi.org/10.1177/0184767820913797.
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Breaking with a tradition of action-filled ballets with a heroic protagonist, a number of 20th- and 21st-century choreographies of Hamlet have probed the psychological and political themes of William Shakespeare’s tragedy. Inspired by theatre and film productions, choreographers have also used the medium’s visual language to comment on Shakespeare’s text and open up its interpretive potentialities. This article analyses three adaptations: Robert Helpmann’s 1942 version for the Sadler’s Wells Ballet, Kenneth MacMillan’s 1988 Sea of Troubles for six former Royal Ballet dancers, and Radu Poklitaru and Declan Donnellan’s iconoclastic 2015 Hamlet for Moscow’s Bolshoi Ballet.
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Djan, Syao. "PECULARITIES OF PEDAGOGICAL TECHNOLOGY OF PROFESSIONAL SELF-DETERMINATION OF THE CHOREOGRAPHER’S PERSONALITY DURING PROFESSIONAL TRAINING." Problems of Modern Teacher Training, no. 1(23) (April 29, 2021): 132–38. http://dx.doi.org/10.31499/2307-4914.1(23).2021.232966.
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The article considers the features of pedagogical technology of professional self-determination of the choreographer’s personality during professional training. This paper states that one of the means of developing the pedagogical qualities of the student's personality in the professional training of a choreographer is the author’s pedagogical technology. We determine the relevance of the study of the pedagogical technology of professional self-determination of the choreographer during professional training by the influence of many objective and subjective factors and reveals a direct relationship between the specific historical situation in the country and the cultural needs of the population. That is why there is a need for scientific understanding of the above processes – their specifics, mechanisms, forms, methods, techniques, i.e. the entire technological chain. The article also states that no matter how perfect the technology is, it cannot take into account all the diversity of the creative process, so the unity of the technical component with the spiritual-personal and socio-pedagogical is necessary. In a living process, it is impossible to “separate” the technological subsystem, as all other components are interconnected. Therefore, it is necessary to abandon attempts to rigidly fix its scope. It is important to trace the “transition” of technology into the relationship between the subjects of the real process. Pedagogical skill is to find a technological solution for the development of the whole set of personality qualities. Methods of teaching choreographic disciplines, as a rule, are abstracted from specific concepts of personality. The construction of the technology of training choreographers involves the “selection” of those parts of the whole personality that are in the perspective of pedagogy. This means that the pedagogical interpretation of personality, having its own specifics, takes into account the knowledge of personality, which gives philosophy, psychology, sociology, but builds this knowledge as subordinates to the problems of pedagogical research.
Keywords: choreographer, professional training, professional skill, technology, pedagogical technology, technological scheme, professional self-determination, pedagogical qualities of personality.
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Spier, Steven. "‘Tight Roaring Circle’: Organizing the Organization of Bodies in Space." New Theatre Quarterly 14, no. 55 (August 1998): 202–9. http://dx.doi.org/10.1017/s0266464x0001215x.
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Tight Roaring Circle, a 1997 Artangel installation at the Roundhouse in London, was a collaboration between choreographers and a musician, as well as with the curators and the audience. Through the installation Dana Caspersen, William Forsythe, and Joel Ryan furthered their explorations into engendering, ordering, and composing movement. By obscuring each individual's contribution they also raised issues of authorship, disciplinary boundaries, and autonomy. Many of the issues provoked by the installation are also being pursued at the Ballett Frankfurt, where Caspersen is a dancer and choreographer, Forsythe is artistic director and choreographer, and for which Ryan often writes music. Having first studied philosophy, Steven Spier is a senior lecturer in architecture in the School of Urban Development and Policy at South Bank University. He has written an article on Forsythe's relationship to classical ballet for the Journal of Architecture, and a book that brings together an architect's and a novelist's work.
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Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 205–22. http://dx.doi.org/10.2478/prm/2022-0002.
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ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).