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Journal articles on the topic 'Choreography'
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1
Tereshenko, N. "CULTURAL MODEL OF SCHOOLCHILDREN’S AESTHETIC EDUCATION BY MEANS OF BALL CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 145–61. http://dx.doi.org/10.33989/2226-4051.2021.23.238274.
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The article suggests that due to the structural characteristics of the cultural model of schoolchildren’s aesthetic education by means of ball choreography, the main components were identified as cultural positions of ball choreography, means of ball choreography, and criteria of aesthetic education of schoolchildren in ball choreography. There are given the structural components of the cultural model of aesthetic education of schoolchildren by means of ball choreography, that are functioning within two regulatory bases – the functioning of informal choreographic education and the importance of subjects of the artistic and aesthetic cycle in the invariant part of secondary schools’ curricula.
The first component is the cultural creation of personality, which will be considered as a process in the context of ball choreography. Active involvement of students in ball choreography is one of the ways of their personal emotional development and aesthetic growth. Communication with the art of choreography, music, physical development, expansion of aesthetic horizons, the formation of a culture of relationships (personal and public) become a basis for the cultural formation of the high school student within the process of ball choreography.
The second component of the cultural positions of ball choreography is the cultural formation of the dancer. Education of the ball choreographer involves the creation of an appropriate creative artistic environment in which the teenager will constantly feel the need for personal, creative, and aesthetic self-realization.
The third component of the cultural positions of ball choreography is the cultural formation of the artist-choreographer. Defining this position, we realize that high school students of ball choreography at a certain stage of their aesthetic development create a desire to turn this hobby into a profession. In the context of this idea, it is advisable to organize specialized art (choreographic) education within general secondary education. Despite the fact that underage dancers do not yet have a professional choreographic education, they can fully meet the set standards for a ball choreographer.
The next block of our cultural model, which we define is means of ball choreography. Analyzing the functionality of the means of choreographic art, we focused on the following components: music, choreographic text, choreographic drawing, stage choreography, and choreographic drama.
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Monni, Kirsi. "Rethinking Conceptual Parameters of Choreography (in Social Spaces)—Actualization of Intensities in Discursive Fields." Arts 13, no. 2 (March 21, 2024): 59. http://dx.doi.org/10.3390/arts13020059.
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This article aims to take part in the ongoing discussion on the social and political potentialities as well as the conceptual premises of choreography and to contribute to the discussion about world relations in the choreographed movement. The much-used definition of Western choreography is “organized movement in space and time”. Although this definition always applies, it does not specify the world relations and worldmaking capacities of the choreographed movement. The main focus of this article is an ontological rethinking of the basic concepts of choreography: movement, space, time and organization, with the addition of kinaesthetic fields, kinaesthetic and spatial intelligence, virtual and actual realms, striated and smooth spaces (Deleuze and Guattari) and different conceptions of time. By analyzing these concepts, the aim is to provide a view of ontologically elementary units in choreography (such as a change in space, the difference over time and space, and passage to shared actuality), with a wider understanding of the inherent social relationality in choreographed movement. After discussing these topics, a few social choreography events and protests are described to represent different choreographic aims and organizational modes arising from each specific situation. The article concludes by proposing that choreography could be seen as organizing movement in space and time but also as a choreographic actualization of intensities in different discursive fields.
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Petkovski, Filip. "How to Choreograph a Socialist Society?" Arts 13, no. 1 (January 11, 2024): 15. http://dx.doi.org/10.3390/arts13010015.
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During the existence of Yugoslavia (1945–1991), the leading political ideology of “brotherhood and unity” had to be manifested in all forms of cultural life. Promoting the physically capable body as part of a larger cultural movement, Yugoslavia witnessed the transformation of physical daily regimens into mass bodily spectacles performed at stadiums, called sletovi, demonstrating the power of mass-choreographed discipline. Similarly, Yugoslav choreographers were encouraged to develop a distinct performance aesthetic based on stylization as a rhetoric for modernization, using folk dance as a medium to showcase and promote the collective body of the people through choreographed folklore spectacles. Focusing on these two case studies that exemplify how mass choreography was used as a strategy to choreograph the Yugoslav society, this paper analyzes how political ideologies and their constructions through physicality supported the Yugoslav state project, thereby pointing to the present-day remnants of these aesthetics in the post-Yugoslav republics, evident in mass protests. By utilizing archival and choreographic analysis, I demonstrate how movement and dance impacted the public understanding of unity and helped the creation of a Yugoslav socialist society, drawing from Andrew Hewitt’s thesis on “social choreography”.
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Leon, Anna. "Between and within choreographies: An early choreographic object by William Forsythe." Dance Articulated 6, no. 1 (June 24, 2020): 64–88. http://dx.doi.org/10.5324/da.v6i1.3639.
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In 1990, William Forsythe created The Books of Groningen – Book N(7), an installation commissioned by the Dutch city of Groningen and architect Daniel Libeskind. This early choreographic object is composed of a water canal, a series of willow trees pulled by wires in order to grow in arched shape and a bush hedge. At a time of marked interest in expanded choreography as it develops in conjunction with choreography’s links to visual art, as well as in choreographic history, this article considers Book N(7) in relation with diverse historical conceptions of choreography – as dance-making, as an organisation of moving bodies, as notation and pre/scription. This analysis shows that the installation negates certain aspects of choreographic history while exemplifying and perpetuating others, therefore situating itself between different historical construals of choreography. At the same time, it points to the ways in which Book N(7) defies the possibility both of complete ruptures and of smooth continuities with the choreographic past, engaging in a negotiation which reworks this past in the present. Framing this analysis of The Books of Groningen – Book N(7) by references to certain of Forsythe’s ulterior works, this article presents the installation as a part of the artist’s longlasting, shifting engagements with the notion and history of choreography.
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Blagova, T. "Dynamics of the Concepts Formation of the Profession of Choreographer in Ukraine (on the Material of Creativity of P. Virsky)." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 4(86) (December 21, 2016): 24–29. http://dx.doi.org/10.35433/pedagogy.4(86).2016.24-29.
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The article substantiates the importance of artistic and pedagogical heritage of outstanding Ukrainian choreographer P. Virsky in the development of the choreographic education in Ukraine. Content analysis of the creative legacy of choreographer has compiled the dominant direction of his professional activities which provided the formation and development of folk-stage choreography. Based on personal studio, biographical and bibliographical methods the article clarified the essence of the reform choreography of P. Virsky, its importance in the formation of the concept of Ukrainian choreographers. Ballet masters in the work of P. Virsky (staging, directing and tutoring) are organically combined with teaching activities (academic, educational, organizational, educational). The important tasks in choreographic and educational work of P. Virsky in the dance team determined the inclusion of young people in national traditions, instilling moral values, sense of national dignity, deep respect for the Ukrainian choreographic culture. Theoretically aesthetic and pedagogical principles of work of the choreographer, such as an individual approach, consistency, thoroughness, integrationist vocational and practical training are systematized. The choreographer has combined artistic and pedagogical activities in the team with choreographic education, systematically advised of Amateur dance groups on the issues of formation of repertoire, subject matter, style, ideologically-shaped orientation, technique. He provided the methodological support to the organizers of choreographic initiative, workers methodological divisions of cultural institutions. A generalization of the author's methods, technologies professional choreographic and pedagogical activities of P. Virsky allowed determining their components of the national choreographic education at the present stage.
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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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Hilari, Johanna, and Julia Wehren. "Social Choreography as a Cultural Commoning Practice: Becoming Part of Urban Transformation in Une danse ancienne." Arts 13, no. 2 (April 9, 2024): 70. http://dx.doi.org/10.3390/arts13020070.
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This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices.
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Borуsova, Yuliia, Oleksii Horpynich, and Oleksandr Didkovskyi. "Choreography as a means of increasing the level of technical training of gymnasts 6-7 years." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 1(129) (January 27, 2021): 14–18. http://dx.doi.org/10.31392/npu-nc.series15.2021.1(129).03.
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Choreography in sports has long been established as a means of specialized training of high-class athletes, which helps to make compositions more vivid, original, expressive, spectacular. Thanks to the means of choreography, you can watch the wonderful, diverse performances of gymnasts, where for each athlete selected styles and nationalities, based on their physical characteristics and temperament. Therefore, the team work of a coach and choreographer is very important. The purpose of the work - to determine the effectiveness of choreography lessons in the training process of gymnasts 6-7 years. Research methods: analysis of scientific and methodical literature; pedagogical observation and experiment; testing; methods of mathematical statistics. Organization of the study. The research was conducted in SDYUSHOR DOO FST "Ukraine" on rhythmic gymnastics. The study involved 20 girls 6-7 years old, who attended sports school 5 times a week for 135 minutes. Research results. Based on the results of testing the initial level of choreographic training of gymnasts 6-7 years old, we can say that the level of choreographic training in both groups is almost the same and is insufficient for further sports improvement, so we have developed and implemented choreography lessons. The lesson consists of a classical exercise, in which the basic technique of dance skill is practiced. When studying choreography develops inversion, flexibility, coordination, stability, easy high jump; the correct posture is made; the musculoskeletal system is strengthened, and also culture of movements and ability to think creatively is formed. At the end of the experiment, retesting was performed, which showed that the level of choreographic preparation of the control group, which was engaged in the usual schedule, without the use of choreography lessons, almost did not change and only 2 exercises were performed at a high level. Meanwhile, in the experimental group, which was engaged in the developed methodology, there have been significant changes. All 10 exercises were demonstrated by gymnasts at high and above average levels. Prospects for further research. Development of choreography complexes for gymnasts 6-7 years old using objects for rhythmic gymnastics.
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Boldyreva, Vera, Aleksandr Keyno, and Mikhail Bogdanov. "Elements usage of jazz gymnastics in the choreographic training of 12–14 years old “rhythmic” gymnasts." Tambov University Review. Series: Humanities, no. 183 (2019): 112–17. http://dx.doi.org/10.20310/1810-0201-2019-24-183-112-117.
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The Russian school of gymnastics is distinguished by the high performing skills of female athletes, a wide range of styles, the composition integrity, which is achieved with the help of choreographic training. The concept of “choreography” includes everything that relates to the art of classical, folk, historical and everyday, modern dance. Choreographic training in gymnastics is understood as a system of exercises and influence methods aimed at nurturing the motor culture of the gymnasts, at expanding their arsenal of expressive means. In addition, when practicing chore-ography, flexibility and coordination of movements develops, strengthens the musculoskeletal system, increases the density of the workout, which has a positive effect on the cardiovascular and respiratory systems of the body, contributes to the development of special endurance. Along with this, choreography lessons solve technical training problems: mastering various elements and combinations, an individual image in the composition. To create an image, expressiveness is in-dispensable, which is inextricably linked with the beauty of the movements, grace, dancing character, etc. A choreographer in rhythmic gymnastics has to work with a constant shortage of time, since choreographic training is only part of the training process. This time is not enough for the full development of the “rhythmic” gymnasts’ choreography. A characteristic feature of training in jazz gymnastics is the performing of exercises that fully activate the body’s motor system, with the participation of the greatest possible number of muscle groups. Also for those engaged in jazz gymnastics is characteristic dynamism, expression, together with wide and smooth movements. The nature of the movements is expressive. All this contributes to the development of “rhythmic” gymnasts’ choreography. Analysis of scientific literature and practical experience indicates the lack of jazz gymnastics use in the choreographic training of “rhythmic” gymnasts. Our research is related to the development of this particular direction, which determines its relevance.
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Yakymchuk, Olena, Natalia Utesheva, and Oleksandr Somyk. "THE PECULIARITIES OF TEACHING PERFORMING MUSIC COURSES TO STUDENTS OR CHOREOGRAPHY IN THE PROCESS OF THEIR PROFESSIONAL TRAINING." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 149–54. http://dx.doi.org/10.36550/2415-7988-2021-1-195-149-154.
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This article presents an analysis of the peculiarities of teaching performing music courses such as «orchestration tutorial» and «orchestral conducting» to students or choreography in the process of their professional training. The educational potential of these courses is shown to facilitate the development of professional qualities in a future choreography teacher. The research also focused on the psychological and pedagogical conditions of a successful pedagogical collaboration of the music teacher and a student of choreography. This study is aimed to contribute to the development of a new course of «Choreography» at the faculties specializing in art at state pedagogical universities of the country providing the modern teaching practice with an academic base in terms of the peculiarities of teaching performing music courses to students of choreography. teaching music and performance disciplines to students-choreographers has a problem-searching nature. This strengthens the subject-subject nature of the relationship between teacher and student, expands the possibilities of their creative interaction in classes on orchestral workshops and workshops on orchestral conducting. Successful interaction of a teacher-musician with a student-choreographer in the process of studying the laws of musical art and the basics of musical performance helps to stimulate interest in learning the latter, motivating the future of complex musical and choreographic activities in secondary school (performing, educational, creative or cognitive). on the formation of his personal qualities, professional skills, abilities, disclosure and realization of his creative potential. Psychological and pedagogical prerequisites for successful pedagogical interaction of a musician-teacher with a student-choreographer are provided by personality-oriented, competence and integration approaches of modern educational strategies.
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Chuprun, Natalia, and Serhii Bezkorovainyi. "The influence of choreography elements on the development of balance in sumo students." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 7(180) (July 25, 2024): 207–12. http://dx.doi.org/10.31392/udu-nc.series15.2024.7(180).41.
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In order to achieve and maintain high sports results in sumo wrestling, a number of aspects are necessary, including the ability to maintain balance. Conclusions: in our opinion, the basic choreographic exercises that will be effective in the process of developing balance in sumo wrestlers are sabriole, balance, demi and grand rlie, marche. By applying the principles of motor learning, skill acquisition and sports science, coaches and athletes can develop effective training programmes that incorporate choreography elements to improve the movement pattern, synchronisation, coordination and tactical awareness of sumo wrestlers. Thus, elements of choreography have a significant impact on the development of balance, namely choreographed movements often require complex coordination of different parts of the body. Weight transfer: most choreographed movements involve shifting weight from one foot to the other or from one side of the body to the other. Muscle strength: Effective balance relies on a strong muscular core, which includes the abdominal, back and pelvic muscles. By performing choreographed exercises, people strengthen their core muscles, which contributes to better balance and stability. Correct posture is essential for maintaining balance, as it aligns the centre of mass of the body over the fulcrum. By practicing choreographed exercises, sumo wrestlers develop postural control, which improves their overall balance. Dynamic stability: choreographed movements often involve transitions between different positions and directions, forcing people to adjust and adapt their balance in response to changing demands. Rhythm and timing: Choreography often incorporates rhythmic patterns and timing, requiring people to synchronise their movements with music or a pre-determined rhythm.
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Hall, Joshua M. "Sociohistorical Self-Choreography: A Second Dance with Castoriadis." Culture and Dialogue 7, no. 1 (May 7, 2019): 87–104. http://dx.doi.org/10.1163/24683949-12340058.
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Abstract Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of the sociohistorical, in which performance the sociohistorical plays two dancing roles simultaneously, both choreographer and choreographed dancer. More precisely, as interpreted by Castoriadis in a late essay, the creation and emergence of forms in time consists of a poetic “scansion” or “scanning” of time. Thus, the sociohistorical is both choreographer and dancer, poet and reader, reinterpreting the poetic text of time as the music for its evolving dance.
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Androshchuk, L. M. "Future choreography teacher training in the system of choreographic and pedagogical education in the context of participation of graduating department in complex scientific project." Musical art in the educological discourse, no. 2 (2017): 123–27. http://dx.doi.org/10.28925/2518-766x.20172.12327.
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Future choreography teacher training in the system of choreographic and pedagogical education in the context of the participation of the graduating Department of Choreography and Department of Choreography and Artistic Culture of Pavlo Tychyna Uman State Pedagogical University in the complex scientific project are considered in the article. The basic tasks of the project in the context of the forming of the creative potential of the future choreography teacher are presented. The result of investigation is the following: 1) The aim and tasks of the subtopics of the complex scientific project “Theoretical and Methodological Foundations of Development of Future Choreography Teacher’s Creative Potential” are analyzed. The aim of investigation is foundation of the theoretical and practical component of development of future choreography teacher’s creative potential. 2) The results of analytical (2015) and search-activity (2016) stages are highlighted. The theoretical and methodological foundations of development of future choreography teacher’s creative potential are considered, innovative model of future choreography teacher’s creative potential in the process of the scientific-creative projects is proved; the series of scientific-creative projects in the disciplines of choreography cycle are developed and implemented; the series of academic editions from the professional dance disciplines are prepared; the results of investigation in the form of monographs “Theoretical and Methodological Foudations of Development of Future Choreography Teacher’s Creative Potential”, “Methodology of Implementation of Innovative Model in Development of Future Choreography Teacher’s Creative Potential”, publication “Strategies for Development of Choreographic Education”, articles in the professional editions etc. are implemented into scientific circulation and educational process. 3) Development and implementation of educational-methodological manuals, educational programmes and methodological recommendations for students’ independent work in disciplines of the choreographic cycle into the educational process of higher education institution are of great practical value according to obtained results. Among the significant results of implementation of a comprehensive scientific project there is an introduction into scientific community of the edition “Strategy for the Development of Choreographic Education, which was published on the results of the II and III All-Ukrainian Scientific and Practical Conference with International Participation “Modern Development Strategies for Choreographic Education” (May 16, 2015, June 25, 2016, Pavlo Tychyna Uman State Pedagogical University).
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Narskiy, I. V. "“The Starry Round Dance”: Mastering the Universe by the Means of Folk Choreography in the USSR of the 1960s." Вестник Пермского университета. История, no. 3(54) (2021): 38–47. http://dx.doi.org/10.17072/2219-3111-2021-3-38-47.
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In 1961, Tatiana Ustinova, the choreographer of the famous Pyatnitsky Choir, choreographed “To the Stars”, the first dance on the theme of space exploration in the Soviet repertoire. The suite, in the Russian pseudo-popular style, told of the Russian cosmonaut's encounter with the moon and stars. However, this work remained in the repertoire of the famous chorus for a relatively short time. How to assess the emergence and disappearance of this dance from the point of view of a historian? To answer this question, the choreographic event is placed within the Soviet historical context of the Thaw and the dance-artistic context of 1930s – 1960s. The paper shows that a combination of circumstances outside and within Soviet choreography was not favourable for the conjuncture of space dance in the USSR. The pathos of a break-through into the future expired soon after Khrushchev resigned, the boundless pride for the unparalleled leap forward was superseded by the bitterness of the untimely loss of the first man in space and the success of the American space programme, and the language of Soviet choreography was hopelessly anachronistic for description of a new reality. But the very attempts to portray space on the dance stage are evidence of the incredible popularity and ubiquity of the theme of space in the USSR in the early 1960s.
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Shen, Gan, Shun Kashiwa, and Lindsey Kuper. "HasChor: Functional Choreographic Programming for All (Functional Pearl)." Proceedings of the ACM on Programming Languages 7, ICFP (August 30, 2023): 541–65. http://dx.doi.org/10.1145/3607849.
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Choreographic programming is an emerging paradigm for programming distributed systems. In choreographic programming, the programmer describes the behavior of the entire system as a single, unified program -- a choreography -- which is then compiled to individual programs that run on each node, via a compilation step called endpoint projection. We present a new model for functional choreographic programming where choreographies are expressed as computations in a monad. Our model supports cutting-edge choreographic programming features that enable modularity and code reuse: in particular, it supports higher-order choreographies, in which a choreography may be passed as an argument to another choreography, and location-polymorphic choreographies, in which a choreography can abstract over nodes. Our model is implemented in a Haskell library, HasChor , which lets programmers write choreographic programs while using the rich Haskell ecosystem at no cost, bringing choreographic programming within reach of everyday Haskellers. Moreover, thanks to Haskell's abstractions, the implementation of the HasChor library itself is concise and understandable, boiling down endpoint projection to its short and simple essence.
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Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.
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The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing cognitive and educational functions, choreographic art is inseparable from its aesthetic function: choreography lessons promote the development of visual, auditory and motor forms of sensory and emotional perception of the world. Students learn to convey the movements of the various nature of music, its dynamics, tempo, to change the movement in connection with the change of parts of a piece of music, to begin with the beginning of music. The success of artistic and aesthetic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythm, dance, fine arts, theater and plastic movements. The educational program for the specialty «Choreography» (today) is designed for eight years of study. Choreographic training of students of the choreographic department includes the following profile disciplines: classical dance, folk-stage dance, modern pop dance, gymnastics. Elective disciplines can also be chosen: historical and everyday dance, concert number staging, sports and ballroom dancing, duet dance. Related subjects: drawing, music, art history. The basis of the content of teaching choreographic art, regardless of the type and genre of choreography, is the involvement of students in active motor activity, which by nature is divided into: executive, improvisational, creative [development potential]. Students have the opportunity to realize themselves in the creative laboratories of art schools - choreographic groups and ensembles.
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Ван, Чжен. "УПРОВАДЖЕННЯ ЗМІШАНОГО НАВЧАННЯ В ХОРЕОГРАФІЧНУ ОСВІТУ." Spiritual-intellectual upbringing and teaching of youth in the 21st century, no. 4 (2022): 244–46. http://dx.doi.org/10.34142//2708-4809.siuty.2022.57.
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The article considers the ways of introducing blended learning into choreographic education. Features of mixed learning and choreographic education are considered. An overview of electronic resources for use in choreography classes is given. The importance of using electronic cards, presentations, videos in choreography classes is emphasized
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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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Blumenfeld, Alice. "Beyond compás: Stepping outside flamenco’s performance norms." Choreographic Practices 13, no. 1 (July 1, 2022): 9–24. http://dx.doi.org/10.1386/chor_00039_1.
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This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the cuadro (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, improvisation outside the cuadro setting and even outside flamenco music opened new movement possibilities and ways to inform, deepen and step back into flamenco structures in my own work. I show how I created new choreography from combining movement knowledge and vocabulary from both inside and outside of the cuadro in choreographed flamenco performances for the theatre.
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Kwan, SanSan. "Even as We Keep Trying: An Ethics of Interculturalism in Jérôme Bel's Pichet Klunchun and Myself." Theatre Survey 55, no. 2 (April 11, 2014): 185–201. http://dx.doi.org/10.1017/s0040557414000064.
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In 2004, Singaporean presenter Tang Fu Kuen commissioned French avant-garde choreographer Jérôme Bel to create a work in collaboration with classical Thai dancer-choreographer Pichet Klunchun. The resulting piece is unlike most intercultural collaborations. In the world of concert dance, East–West interculturalism takes place in a variety of ways: in costuming or set design, in theme or subject matter, in choreographic structure, in stylings of the body, in energetic impetus, in spatial composition, in philosophical attitude toward art making. Bel's work, titled Pichet Klunchun and Myself, does not combine aesthetics in any of these ways. In fact, the piece may more accurately be described not as a dance but as two verbal interviews (first by Bel of Klunchun and then vice versa) performed for an audience and separated by an intermission. There is no actual intermingling of forms—Thai classical dance with European contemporary choreography—in this performance. The intercultural “choreography” here comprises a staged conversation between the artists and some isolated physical demonstrations by each.
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Khokhlova, Daria. "Ballet "The Taming of the Shrew" by Jean-Christophe Maillot: peculiarities of authorial interpretation of the images of Katherine and Petruchio." Человек и культура, no. 1 (January 2022): 32–50. http://dx.doi.org/10.25136/2409-8744.2022.1.37356.
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The subject of this research is Jean-Christophe Maillot’s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text – W. Shakespeare’s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Krasovskaya, Slonimsky, and Surits. The works by Lopukhov serve as the methodological basis for analysis of the shape and choreography. Other sources include video materials from the archives of Monte Carlo Ballet and Bolshoi Theater, recordings of staged rehearsals that took place from April to June 2014 (author's archive). The research employs the methods of ideological-artistic analysis, semantic analysis of construction and choreographic solution of the roles of Katherine and Petruchio, as well as method of included observation (personal participation in the performance). The novelty lies in revealing the innovative and modernized classical elements of choreography and staging developed by Maillot (leitmotif plasticity combinations, transforming symbolic moves). The detailed semantic analysis of the composition and choreography f the images of Katherine and Petruchio became the main instrument of research and allowed making the following conclusions. Interpretation of the images of the protagonists in the first act is conceptually similar to Shakespeare's text and slightly adapted in accordance with the expressive potential of ballet art and authorial artistic tasks. In the second act, the choreographer shifts the compositional and plotline focus, highlighting not the final scenes, but the full-scale duet of the protagonists, where the plasticity solution is transformed depending on the changes in their emotional states. Namely abstract and visual plasticity ideation individualizes the choreographic style of Maillot and underlies his interpretation of the profound plotline of Shakespeare's comedy.
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Oleneva, A. V., and I. A. Stepanik. "BREATHING EXERCISES IN CHOREOGRAPHIC EDUCATION." Pedagogical IMAGE 14, no. 4 (2020): 696–708. http://dx.doi.org/10.32343/2409-5052-2020-14-4-696-708.
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Introduction. The paper emphasizes the importance of work on breathing in professional choreographic education. The distinguishing features of breathing in choreography are presented. The study involves an analysis of various breathing techniques (yoga, pilates, Strelnikova gymnastics, and others), their compliance with the choreographic art requirements, and adaptability to professional choreographic education. Materials and methods. The analysis has been used to compile a set of breathing exercises corresponding to the classical dance requirements. The 5-month practice at the choreographic vocational school has been described. Results: Main physiological indicators of the respiratory system of 5th-grade students before and after daily breathing exercises have been compared. Conclusions: The findings suggest that the discussed experimental gymnastics can be used for professional choreographic education. Keywords: choreography breathing, breathing gymnastics, breathing exercises, choreography education, classical dance, ballet dancer, aerobic stamina, development of respiratory system.
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Bidyuk, Dmytro. "Professional Training of Choreography Students in European Universities." Comparative Professional Pedagogy 8, no. 4 (December 1, 2018): 39–46. http://dx.doi.org/10.2478/rpp-2018-0052.
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Abstract The article deals with the analysis of professional training of choreography students in European universities. It is indicated that choreography education is a certain system of dancing training, which cultivates students’ artistic, physical and technical skills necessary for the dancing profession, as well as develops their special knowledge. It is found that an indispensable component of learning is character and national dance. It is specified that the prospects of using foreign experience to modernize choreography education include different levels, namely the European level (an intensification of cooperation with international educational organizations, promotion of intercultural education and international relations through participation in cultural exchange programmes and international dance competitions and festivals), the national level (elaboration of appropriate legal and regulatory acts, design of national cultural and educational programmes for developing choreographic culture, introduction of new models of choreography training (theater dance, choreotherapy, modern dance), formulation of modern requirements for future specialists, allocation of budget on choreography development), the institutional level (administrative support of international scientific projects, introduction of appropriate strategies for developing choreographic industry, introduction of new courses, modernization of existing training programmes, introduction of innovative choreographic training programmes, creation of special programmes for students with special educational needs, Europeasation of lecture content, introduction of innovative elective modules at departments of choreography, organization of international workshops).
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Barry, Olivia. "Tracing the felt image to thought: A somatic turn towards the nature of the creative process in country dance choreography." Journal of Dance & Somatic Practices 14, no. 2 (December 1, 2022): 249–61. http://dx.doi.org/10.1386/jdsp_00083_1.
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Creative processes used to choreograph country dance are distinguishable from those utilized in other dance movement systems. Described here is my experience of a novel approach within somatic education – one reflecting on the nature of the creative process in country dance choreography. My primary aim was to trace a distinctive moment when feeling translates into a later communicable thought. In country dance choreography, this is known as the hook. Over the course of two months, I developed my own experiential somatic practice under the guidance of leading dance, science and somatics practitioner-researcher, Dr Glenna Batson. I engaged in this form of embodied practice in order to explore somatics as a method for conducting research as well as aiding in my own creative process as a country dance choreographer. Through the process of anarchiving, harvesting and tracing moments from my somatic experience, I found key correlations and contrasts between somatics and country dance.
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Jhosua, Divany Rico, and Mamik Widyastuti. "ELEMEN-ELEMEN KOREOGRAFI DAN REFLEKSI DALAM SAJIAN KARYA TARI TUNJUNG PUTIH." Greget 20, no. 2 (March 16, 2022): 188–202. http://dx.doi.org/10.33153/grt.v20i2.4143.
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Tunjung Putih dance by the choreographer; Divany Rico Jhosua in 2020 is a new traditional art whose dance work creation is motivated by the problem of social discrimination experienced by cross-dressers and cross-gender dancers. The idea of creating this work is the story of Wrahatnala's character while posing as a woman and acting like a sissy. To find out the elements of choreography in Tunjung Putih dance, the author uses the concept presented by Y. Sumandyo Hadi, namely the explanation of the concepts of cultivation through the elaboration of choreographic elements. The result of this study is to know the form of Tunjung Putih dance through the description of 11 elements of choreography in it. Reflection of the creation of Tunjung Putih dance in the form of critical analysis with further research to respondents on issues and responses related to the presentation of this dance work.
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Turchak, Lesia. "Creativity of O. Gerdan-Zaklynska within the development of Ukrainian and world choreographic culture." Culturology Ideas, no. 21 (1'2022) (2021): 93–101. http://dx.doi.org/10.37627/2311-9489-21-2022-1.93-101.
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The article investigates creative activity of one of the V. Avramenko’s well-known students, Galician choreographer O. Gerdan-Zaklynska in homeland and in emigration. It analyzes her contribution to the development of "expressive" dance in the first half of the 20th century within the specificity of Ukrainian choreographic art. The performing and pedagogical activity of the choreographer is considered in the context of the preservation and development of the national historical and cultural heritage. It is stated that the direction of creative and pedagogical activity of O. Gerdan-Zaklynska in emigration speaks of the desire not only to preserve individual spiritual values and achievements of Ukrainian dance culture, but also to popularize them and concurrently contribute to the synthesis of Ukrainian and foreign choreography. Synthesizing the best traditions of national art with the innovative experience of Western European choreography, O. Gerdan-Zaklynska presented a unique Galician style of performing modern dance at the global level. While searching for the originality and authenticity of Ukrainian folk-stage dance, she invented the so-called motor symbols that contributed to the formation of a new coding of dance.
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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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Drach, T. "Folk-modern dance as the method of development choreographic skills for performers in aerial acrobatics and pylon sports." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 8(153) (August 30, 2022): 42–44. http://dx.doi.org/10.31392/npu-nc.series15.2022.8(153).10.
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Aerial silks and pylon sports are technical and aesthetic directions that help develop the physical qualities of the performer, but it is possible to improve their choreographic skill, which is a component of theperformance, due to the folk-modern classes. Due to the classes in choreography, children and adults improve their performing skills, develop artistry and character, in the process of forming technical qualities. Folk dance develops the performer's acting skills, helps to get acquainted with different types of performance and create a unique national style during the performance of aerial acrobatics. Performance with the use of folk choreography are more emotionally saturated, bright, characteristic, they convey the feelings of the performers, their belonging to a certain national stratum. Therefore, the purpose of our research is to determine the influence of folk-stage and folk-modern choreography on the development of performing abilities in aerial acrobatics and pole sports. The issue of choreographic training of athletes in technical and aesthetic sports, such as artistic and athletic gymnastics, figure skating, synchronized swimming, etc., as well as the involvement of folk and stage choreography in this process, was studied by such scientists as Rumba O.H. (2006), V.Yu. Sosina (2009), V.G. Todorova (2018) and others. Methodological recommendations in folk-stage choreography were studied in the work of modern scientists on folk-stage choreography, such as E. Zaitsev and Yu. Kolesnichenko (2007), etc.The issue of the development of such directions as pylon sports, aerial silks, rings, and hammocks was studied by scientists such as Hanna Oleynyk (2017), Irina Kartali (2018), Steven Santos (2013), Pony Poison (2013), and others. However, the question of using folk-modern as a method of choreographic training of performers in aerial acrobatics and pole sports has not been raised in modern literature yet. Due to our research, we have studied in detail the conducted scientific works devoted to the application of folk-stage choreography in the process of training performers in technical and aesthetic sports, and developed a program for improving choreographic skills in such areas as aerial acrobatics and pylon sports.
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Bashkir, Olha, Oksana Zhukova, and Bi Yun. "The Competence Paradigm of the Future Teacher of Choreography: the Experience of the PRC." Professional Education: Methodology, Theory and Technologies, no. 16 (November 30, 2022): 43–58. http://dx.doi.org/10.31470/2415-3729-2022-16-43-58.
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The issues of professional training of future teachers of choreographic disciplines have always aroused the researchers’ interest. A number of historical and pedagogical, experimental studies highlight the issues of training, forming the readiness of specialists in choreography. However, comparative studies, where the comparing of the experience of the leading countries of the world in training specialists in a particular specialty is progressive and contributes to the adaptation of the best practices in the work of the higher education institutions, are gaining significant demand among scientists. The training of future choreography teachers in the People's Republic of China (PRC) is of interest in terms of the traditions that have accumulated in this country over the centuries. The purpose of the article is to determine the components of the competence paradigm of the choreography teacher of the People's Republic of China for the purpose of their implementation in the progressive experience of training choreographers in Ukraine. The methodological basis of the research has a complex nature, combining the following methods: historical, system and analytical, contextual, comparative. Results. Based on the study of literature, the authors of the article determined that the training future teachers of choreography for professional activities is an integral, holistic creation of the personality of a specialist, which includes readiness to carry out professional activities on the basis of special choreographic knowledge (history, theory and practice of choreographic art, methods of implementation and teaching different types of choreography (classical, modern, folk stage dance, etc.), modern directions of choreographic art); skills (choreographic skills, the ability to use the basics of the theory and methodology of choreography in innovative professional activities, to improvise, design and implement the educational process of choreographic training, taking into account the socio-cultural situation and the level of development of the choreographic abilities of the children's choreographic group in the education system in real and virtual fashionable dance movements, create dance repertoire of different levels of complexity in accordance with the social and cultural needs of society); abilities (artistic and creative, artistic and aesthetic, artistic and mental, artistic literacy, team building, self-development based on the reflection of the results of their professional activities, the ability to use educational and communication technologies, find and use information from various sources (electronic, written, archival and oral)); professional and personal qualities (creative independence, performance and emotional mobility, stage improvisation, tolerance, empathy, spirituality, etc.). Conclusions. It is determined that in addition to the knowledge, skills, abilities and qualities indicated above, the competent paradigm of the future teacher of choreography is cultural, cross-cultural, artistic, professional-artistic and artistic-stage competence.
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Bigus, Olga, Olha Bilash, Liudmyla Vyshotravka, Liudmyla Khotsianovska, Olha Babych, and Oleksandra Hres. "The professional choreographic education: current state and development trends." LAPLAGE EM REVISTA 7, no. 3 (August 10, 2021): 42–54. http://dx.doi.org/10.24115/s2446-62202021731255p.42-54.
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The aim of the article is to highlight the features of the development of choreographic education at the beginning of the XXI century on the example of educational institutions of Great Britain and the United States, which train students in "Choreography" specialties. Methods: analysis, synthesis, induction, deduction, observation, description, tabular and graphical representation, comparison, systematization, questionnaire survey, hypothesis, abstraction and generalization. It was established that the development of choreographic education in the beginning of the XXI century is characterized by an annual increase in the number of students being trained as choreographers, choreographic education support by the universities, positive changes after the introduction of support measures for the development of choreographic education, increase in the level of encouragement for students to study the profession of choreographer, usage of modern ICT.
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Айвазова, Е. С. "Элементы хореографии в процессе физического воспитания студентов." ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ 70, no. 4 (2021): 6–9. http://dx.doi.org/10.18411/lj-02-2021-115.
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The article considers the place of choreographic training in the process of physical education of students. The concept of choreography and its elements, as well as methods and techniques of physical education of students by means of choreography are revealed.
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PLAKHOTNYUK, Oleksandr. "THE MEANING OF INTRODUCING OF THE STANDARDS OF THE HIGHER EDUCATION IN THE AREA OF EXPERTISE 02 “CULTURE AND ARTS”, SPECIALTY: 024 “CHOREOGRAPHY”." Bulletin of the Lviv University. Series of Arts Studies 103 (2021): 51–59. http://dx.doi.org/10.30970/vas.22.2021.12180.
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The queStion about forming, Study and inveStigation of the process of the formulation of the choreographic culture in Ukraine on the example of the introduction in the syStem of higher choreographic education of certain Standards is considered. The queStion concerning the importance of spreading and popularization of choreography encountering its unique definitely expressive and regional peculiarities of Ukraine, also the awareness and underStanding of the importance of the development of the choreography specialty as the diStinctive art specialty is highlighted. Thesis objective – the analysis of the meaning of introduction of The Standards of the higher education in the area of expertise 02 “Culture and arts”, the specialty: 024 “Choreography”. The formulation of the objectives of the investigation: the inveStigation of the processes which influenced the growth of the qualitative process of the education in the specialty 024 “Choreography” as a result of the introduction of The Standards of higher education. The methodology of the inveStigation lies in the implementation of the methods of the objectivity, hiStorism, normative and legislative Statements of Ukraine, in the comparative and art cultural analysis of the perspectives and tendencies of the development of the dancing culture and choreographic education. The abovementioned methodological approach allows to reveal and submit to the consideration the queStion of possible directions concerning the Study of the problem of the formulation the qualitative educational service for the applicants of the higher education through the possibility of following and implementing of The Standards of the higher education in the educational process nowadays . Also, the methodology lies in the profound scientific analysis, the interactions and role of the autonomy of the inStitutions of the education in the correlations with the educational programs with The Standards. The method of the objectivity and hiStorism gives the possibility to monitor the dynamics and the perspectives of the development of the art educational processes of the dancing culture in the choreographic world. The comparative method is implemented in the inveStigation for identifying the features of the formation of the potential positive practices in the space art cultural events of the modern world. The scientific novelty of the given thesis: the analysis of introducing in Ukraine the independent specialty 024 “Choreography” the area of expertise 02 “Culture and art” (following the methodological recommendations issued by The Ministry of Education and Science of Ukraine) is provided what leads to operative development of The Standards for all the levels of the higher education (Bachelor, MaSter, Doctor of Philosophy), approved by The MiniStry of Education and Science of Ukraine. Summaries: the preparation of the professional choreographer – it is a long lasting and complicated process. In fact, the Study for educational programs of the specialty 024 “Choreography” in the higher education institution – it’s a final stage which is preceded by the classes in junior choreographic ensembles, art schools, ballet studios, choreography schools and colleges. This process lasts approximately from 5 to 8 years. The results of creativity entrance examinations indicate the high level of preparation of the future higher education applicants of the given specialty. “The choreography and their desire to get the diploma” – that what the applicants note in their motivational letters. The Choreography specialty differs from the other specialties by its peculiarities of its organization of Study process which has nothing in common neither with “Performing arts”, nor with “Music art”. This is confirmed by the requirements of the creativity teSting of the applicants, including the high requirements to physically anatomic development of the future student, his/her body constitution. Any kind of deviations in health status may lead to the deepening of the disease. All, who study the choreography they undergo the medical examinations; the applicants must master the complicated technical-coordinative basis of performing the dance movement, which can be obtained by years of preparation and therefore is checked at the entrance examinations; for the future dancer it is important to have the developed musical-rhythmic perception of music material which can be reached by the overall syStem of special musical dancing exercises Starting from the early childhood in the subject “Rhythmics and dance”. At the final state teSt the graduates demonstrate: the possession of the performing dance skills and high level skills to perform complicated dance pa; the skills to transmit the artiStic images by means of the choreographic art, the possession of acting skills on more complicated level without words, pantomime, template geSture, the possibility to transfer the idea of the director, the author of the choreographic performance, only by the plaSticity of dance movement and inner emotional indulgence; the apprehension of the aeSthetics, art vision; the skills to create self-made artwork, to perform the dance, to present the conception of conceived artwork. Indeed, atteStation State qualification exam (exams) of the specialty Choreography suggeSts the public demonStration of the level of the adopted performing competencies. The graduate demonStrates the extent to which he/she developed his/her skills according to program learning outcomes, especially performing maStery, physical development, and great amount of vague art theoretic knowledge in the area of expertise “Culture and art”, pedagogics, psychology, and others. Ukraine reached a high level of choreographic education in the area of expertise in the specialty Choreography, the basis of choreology is formed as the scientific area of expertise of the dance development in Ukraine.
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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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TARANTSEVA, O. "DIDACTIC MODEL OF TEACHING CLASSICAL DANCE IN PROFESSIONAL TRAINING OF FUTURE TEACHERS OF CHOREOGRAPHY." Pedagogical Sciences, no. 80 (December 29, 2022): 76–80. http://dx.doi.org/10.33989/2524-2474.2022.80.278221.
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In the article, the author reveals the relevance of the problem of teaching classical dance in the professional training of future choreography teachers. A set of didactic conditions for teaching classical dance in the system of professional training of future teachers of choreography was determined: strengthening the cognitive interest of choreographer students in classical dance; visualization of methods of teaching classical dance in the system of professional training of future teachers of choreography; creation of modern educational and methodological support for the independent work of future teachers of choreography. A didactic model of classical dance teaching in the professional training of future choreography teachers was developed, which is presented as a set of three blocks (methodological-target, content-technological and control-evaluative).
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Lawal, Yeside Dosumu. "Towards Designing Choreography Curriculum Template for African Contemporary Dance Using Dayo Liadi’s Olori-Oko Dance Performance." Journal of Humanities,Music and Dance, no. 41 (December 13, 2023): 7–20. http://dx.doi.org/10.55529/jhmd.41.7.20.
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Modern dance techniques such as choreography gives the genre a unique language that can be used to expand the dance technique and dance composition as used by choreographers. Dayo Liadi as a choreographer and study in this article has used contemporary dance genre of body gestures to communicate his message through signs and cultural symbols, towards the appreciation from the audience. However, there are many thematic areas including space, shapes, images, body movement, and other paraphernalia employed in the style called contemporary dance type of choreography. Thus, all of these must be preserved and replicated as unique dance techniques. Therefore, the need to study and propose an indigenous choreography curriculum that emanates from Dayo Liadi’s creative work i.e. Olori Oko performance. The study is anchored on Michael Forkine’s Perspective of Adorno Theodor’s Philosophical Aesthetic theory. This is with the view to incorporate home-grown curriculum contents into dance studies in theatre schools in Nigeria and in Africa. The study adopted quantitative research method, involving participants’ observation, transcription and content analysis of lyrics and video using a checklist to conduct thorough video pre-view and review of the choreographic work. Major findings revealed a need for collaboration and performances to sharpen and widen the horizon of the artistic and creativity appreciation, with the view to incorporate new dance techniques into the Nigerian and African dance techniques such as incorporated in Dayo Liadi’s creative work. The study recommend direct implementation or adoption of the proposed curriculum template as part of choreography dance studies in theatre curriculum among departments in higher institutions Nigeria and Africa.
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KOSTUR, Ivanna, and Nadiya KIPTILOVA. "VASYL PIPASH’ BIOGRAPHICAL AND CREATIVE PATH." Bulletin of the Lviv University. Series of Arts Studies 199, no. 23 (2022): 115–23. http://dx.doi.org/10.30970/vas.23.2022.12200.
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The article systematizes collected data on Vasyl Onufriyovych Pipash, a prominent figure in the field of choreography in Ukraine from the mid-20th to the early 21St century. It explores his contributions as an artist, choreographer, educator in higher education, member of the music society, and artiStic director of choreographic ensembles. The focus goes beyond professional activities to encompass his role in preserving and developing Ukrainian choreographic traditions. The research aims to present the biography and creative path of Vasyl Pipash, a notable figure in Ukrainian choreography from the mid-20th to the early 21St century. The methodology involves analyzing collected data, archival materials, and conducting interviews with various sources, including family, colleagues, friends, and Students of V. Pipash. The scientific novelty lies in the syStematic presentation of various aspects of V. Pipash’s creativity, including his role in different choreographic groups, contributions to the development of national choreographic art, and his key representation in the field. Based on collected data and family archives, the biography and creative path of Vasyl Onufriyovych Pipash are examined, highlighting his roles as an artiSt, rehearsal director of the Merited Academic Transcarpathian Folk Choir, ballet master of the National Ensemble of Song and Dance “Hutsulia”, assiStant at the Department of Conducting and Singing at Vasyl Stefanyk Precarpathian University, member of the National All-Ukrainian Music Society, and artiStic director of the Folk Ensemble of Song and Dance “Cheremosh” at Lviv National University named after Ivan Franko. Vasyl Pipash’s significant contributions include his impact on the development of national choreography and active involvement in preserving and popularizing traditional Ukrainian dance forms. As an artiSt and ballet maSter, he not only passed on his talent and skill to the participation in the National All-Ukrainian Music Society underscores his significance as an expert in various cultural spheres. His contribution to the work of the Folk Ensemble of Song and Dance “Cheremosh” was defined not only by talent but also by great energy rooted in a deep understanding and love for Ukrainian folk culture
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Dengaova, Ao. "PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHER FOR CONCERTMASTER ACTIVITIES IN THE CLASS OF CLASSICAL DANCE." Innovative Solution in Modern Science 7, no. 43 (December 27, 2020): 17. http://dx.doi.org/10.26886/2414-634x.7(43)2020.2.
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The article is devoted to the questions of a number of aspects of formation of skills of concertmaster activity as a component of piano preparation of the pianist-beginner in the class of classical choreography, revealing of the functional connections of the tandem teacher-choreographer – pianist-concertmaster, determination of the level of psychological-pedagogical students and performers interaction with the choreographer. The data are analyzed in the context of consideration of the general laws concerning the selection of the performing repertoire for musical design of classical choreography lessons, their importance, expediency and correspondence to the students' age characteristics, their level of musical perception. Key words: concertmaster activities, beginner concert pianist, choreography art, classical dance, psychological and performance barriers, musical design.
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NOVAC, Andreea. "On Bodies in Motion: New Perspectives in Contemporary Choreography." Theatrical Colloquia 12, no. 1 (May 15, 2022): 186–93. http://dx.doi.org/10.35218/tco.2022.12.1.17.
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The beginning of the 21st century brought about intense debates among artists, curators, and theoreticians on what choreography is or what it could become. A wide range of critical positions point towards the necessity of a reflective context in which the relation between the body and the movement should be discussed, questioned, revisited. By rethinking this relations new distinctive perspectives on choreography are encouraged and produced. Contemporary choreography is concerned with the body in motion in an ever-expanding field of disciplines, which brings about a multitude of shifting attitudes, and connects it with a wider range of discourses in the contemporary culture. As the traditional understanding of dance is questioned by innovative practices, the new choreographic modes and strategies challenge the very specificities of dance and affect, in return, the body on stage, its relation with motion and the choreographic discourse. The present article explores the transformations the occurred in the understanding of the body and its relation to movement (as choreography traditionally is recognized as the art of organizing the movement of the bodies and the bodies in movement in space and time) with echoes in making, performing and the reception of dance. My argument will take into account the contributions of some artists, researchers and theoreticians that, in the last 20 years or so, have been engaged in redefining choreographic practices and research, as I will reflect on these diverse contributions which innovated and revitalised the discourse around and about contemporary choreography.
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Tarlanov, Olzhas. "PANDEMIC AS A CATALYST FOR DIGITAL PROCESSES IN ART." ARTS ACADEMY 1, no. 1 (March 11, 2022): 126–36. http://dx.doi.org/10.56032/2523-4684.2022.1.1.126.
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This scientific article analyzes the question of how technological progress affects art in general, and choreography in particular. Based on the material of the scientific discussion that took shape within the framework of the Round Table "Modern trends in the development of choreographic education", held in 2021 as part of the II International Festival of Professional Choreographic Educational Institutions "Temps lié", the author shows the birth of a new understanding of digitalization in the art of choreography
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Hamsidar, Agusti Efi, and Indrayuda. "The Development of the Productuve Creative-Based Choreography Learning Model in Padang State University." International Journal of Management and Humanities 5, no. 6 (February 28, 2021): 4–8. http://dx.doi.org/10.35940/ijmh.f1233.025621.
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This study is aimed to improve students' choreography skills. Since students are still constrained in coming up with ideas, creative imagination in choreography as a result they have minimal choreographic results. The diversity of students' input in the Sendratasik Department is one of the factors causing the low creativity and productivity of students' choreography. It means that the students have different basic abilities of choreography so that they have a minimum of ideas and creativity in learning choreography. Even though the lecturer has used his competence as a choreography lecturer, however in reality the lecturer is more likely and always uses a learning model that has not been able to build students to be more motivated and quick to find ideas and find stimulation of imagination, so they are slow in generating ideas and finding stimulation of the imagination. This type of research is development research or what is called Research and Development (R&D) with qualitative and quantitative approaches. The Productive Creative-based Choreography Learning Model in this study has produced a valid, practical, and effective model because it has an impact on increasing the choreography ability and learning motivation of students.
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Khokhlova, Daria. "Three Duets of Katarina and Petruchio in John Kranko's Ballet The Taming of the Shrew: on the Question of Choreographic Interpretation of the Literary Source." Культура и искусство, no. 3 (March 2022): 1–15. http://dx.doi.org/10.7256/2454-0625.2022.3.37642.
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The subject of this article is the interpretation of J. Kranko images of Katarina and Petruchio in three duets of the ballet "The Taming of the Shrew", studied in contextual comparison with the original text – the comedy of W. Shakespeare. The purpose of the study is to determine the place of the three duets of the main characters in Kranko's performance, drawing ideological and figurative parallels with the text of the original source, and to identify expressive means and choreographic elements used by the choreographer in their production. The methods of ballet studies analysis approved by ballet historians Dobrovolskaya, Krasovskaya, Surits were used as a theoretical basis; the works of choreographer and ballet art theorist Lopukhov became the methodological basis for the analysis of choreography. Other sources used include video materials from the archives of the Stuttgart State Opera and the Bolshoi Theater. The work on the article required a historical approach – the involvement of materials (videotapes and reviews) from 1969 to 1996.. The methods of ideological and artistic analysis and semantic analysis of the choreographic construction of the duets of Katarina and Petruchio were also used. The detailed semantic analysis of the choreography and composition of the duets of the main characters has become the main research tool. The new results include the identification and comparison of staging tools developed and used by the choreographer. In the first duet it is an alternation of syncopated pas, acrobatic elements, movements on the floor; in the second – plastic imitations of funny and awkward situations; in the third – technically rich choreographic development of duet dance (which corresponds to the three phases of the development of the relationship of the heroes: duel, ridicule, harmony). So, the modification of the images and relationships of the main characters of J. Kranko concludes The Taming of the Shrew in three duets, making them meaningful fragments that form the concept of ballet, as well as the author's view of the plot of the comedy by W. Shakespeare.
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Nicifero, Alessandra. "OCCUPY MoMA: The (Risks and) Potentials of a Musée de la danse!" Dance Research Journal 46, no. 3 (December 2014): 32–44. http://dx.doi.org/10.1017/s0149767714000527.
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By renaming the Choreographic National Center in Rennes and Bretagne as the Musée de la danse in 2009, the French choreographer Boris Charmatz has indirectly raised new questions on both museum and dance ontologies, opening up the possibility of an enriched interdisciplinary discourse on the relationship between movement-based arts and museums/art institutions. This essay explores the changing museum and dance landscape over the past few decades, considers how museums have been theorized, and their relationship to, and engagement with, audiences; and asks what role choreography and dance can play in this new institutional context.
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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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Turgali, A. "FEATURES OF THE EDUCATIONAL PROCESS OF CHOREOGRAPHIC SCHOOLS IN KAZAKHSTAN." ARTS ACADEMY 4, no. 4 (December 2022): 5–14. http://dx.doi.org/10.56032/2523-4684.2022.4.4.5.
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The article discusses some differences in the educational process of the Almaty Choreographic School named after A.V. Seleznev and the Kazakh National Academy of Choreography in the capital, which today provides choreographic education in Kazakhstan. At the same time, it was emphasized that stage experience plays an important role in the preparation of a ballet dancer. Today, due to the high requirements for theater artists, the level of training of school graduates should also be high. In this regard, the efforts of the pedagogical community are developing pedagogical methods by introducing new directions of choreography while preserving the advanced traditions of a unique educational institution. The article tells about the international festival "Orleu", which has been held by the Almaty Choreographic School named after A.V. Seleznev for about 20 years and about the festival at the international level "Temps Lie", which has been held by the Kazakh National Academy of Choreography since 2018. Through these festivals, ballet dancers of the younger generation receive a ticket to the big stage. Characteristics of the school by analyzing the example of one movement.
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Сергій Твердохліб. "INTEGRATION OF DIFFERENT ART TYPES IN THE PROCESS OF FORMATION OF FUTURE TEACHERS OF CHOREOGRAPHY INTERPRETATION COMPETENCE." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (September 4, 2020): 52–60. http://dx.doi.org/10.31499/2307-4906.4.2020.224094.
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The aim of the article is to actualize the integration of different arts in the process of forming the interpretive competence of future teachers of choreography, based on the functional model of art, namely its hedonistic, aesthetic, cognitive, educational, social-transforming and information-communicative functions. The process of interpretation of the artistʼs creative concept in the plane of choreographic art is determined by the ability of the teacher-choreographer to integrate the universal artistic heritage. At the heart of any movement there is always a relationship with the musical accompaniment, which is due to the synthesis of the concept of composer and choreographer. In turn, due to the general canons of world art, each choreographic pose gives a stylistic color to the composition. The design of scenery and costumes is based on the tendencies of artistic creativity, and drama is based on the functional canons of the theatrical act.The methodology of integration of different types of arts in the process of professional training is based on the syntheticity of the categorical apparatus of art and the sensualism of human perception. The process of integration is considered in terms of the application of pedagogical principles and methods of synthesis of universal cultural heritage. The article presents an analysis of the scientific literature on the definition of “integration”, “integration classes”, pedagogical principles of “integration of different arts in the process of professional training”. It is proved that the integration of musical, artistic and theatrical arts plays a crucial role in the process of forming the interpretive competence of future teachers of choreography and determines the positive dynamics of the development of creative abilities.
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Shankina, Svetlana, Yury Shankin, and Evgeniya Shushpanova. "Teaching methods in choreographic art to people of mature age." Tambov University Review. Series: Humanities, no. 182 (2019): 115–22. http://dx.doi.org/10.20310/1810-0201-2019-24-182-115-122.
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We consider a special area of didactics – teaching people of mature age. We chose choreographic art as a sphere of students' skills development. We define not only the features of choreography, but also the specifics of the motor activity development in people of mature age using means of choreographic art revealing physiological limitations and development ways of the body of this age. The author's approach to the teaching methods in choreographic art to people of mature age is in the formation of the students’ attitude to choreography as part of a healthy lifestyle culture. Within developed programme of continuous education “Older generation” we prepared me-thodical materials, a fragment of which is in the publication.
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Robb, Hamish J. "Looking Beyond Facile Understandings of ‘Literalness’ in Music–Dance Collaborations: Mark Morris's All Fours." Dance Research 30, no. 2 (November 2012): 126–46. http://dx.doi.org/10.3366/drs.2012.0043.
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Notions of ‘visualisation’ or ‘literalness’ in discussions of dance-music collaborations mistakenly imply that dance is able to map completely onto music, and that such dancing says nothing new. Given the complexities involved in meaning formation through gesture, there is an endless number of ways to sympathetically choreograph the same musical phrase, just as there are numerous ways to interpret a single physical gesture. Through an analysis of Mark Morris's All Fours, a choreography set to Bartók's Fourth String Quartet, I offer an opposing view to those detractors of Morris who claim that his work is ‘overly literal’. I argue that Morris's sensitive choreography provides us with the missing link between the characters and emotions projected through Bartók's music on the one hand, and the very precise and less audible compositional techniques on the other. Furthermore, I demonstrate how Morris's carefully planned choreographic choices, repetitive mappings, and gestural tropes (the juxtaposition of two seemingly contradictory gestures) provide the means for highly imaginative and complex narratives, one of which I offer here. Thus, I illustrate how dance gestures that may initially seem to simply ‘mimic’ the music actually perform larger roles in the formation of networks of meaning.
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Wulansari, Dewi, and Tubagus Mulyadi. "EKOKRITIKISME KOREOGRAFI SATU MILIAR TOKEK KARYA AYU TITIS RUKMANA SARI." Greget 20, no. 1 (January 5, 2022): 58–72. http://dx.doi.org/10.33153/grt.v20i1.4035.
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Satu Miliar Tokek by Ayu Titis Rukmana Sari, was inspired by the phenomenon of the Kedung Monggo community towards the price of a billion geckos. This phenomenon has an impact on the burning of the banyan tree where the gecko resides. This research has the problem of how to choreograph one billion geckos and how to ecocriticism in the work of one billion geckos. To answer the problem of choreography, Slamet Md's concept of dance formation consists of motion, rhythm, expression, or feeling, costumes, stage, and dancers. To explore ecocriticism, the opinion of F.X. Widaryanto. The manifestation of eco-criticism in performing arts products of past creative traditions is heavily influenced by natural phenomena. This shows that the works of art in the past gave direction to the audience to protect the environment. The method used in this research is a qualitative research method with a choreographic approach. The results of this study indicate that the work of one billion geckos is a work of art as a form of social criticism, especially in the Kedung Monggo community, which is manifested in the flow of dance choreography.Keywords: Satu Miliar Tokek, Choreography, and Ecocriticism
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Nikolaeva, L. Ya, and T. V. Sabantseva. "PEDAGOGICAL CONDITIONS FOR FORMING THE FUTURE CHOREOGRAPHER’S READINESS FOR REHEARSAL ACTIVITIES." Review of Omsk State Pedagogical University. Humanitarian research, no. 28 (2020): 129–33. http://dx.doi.org/10.36809/2309-9380-2020-28-129-133.
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The problem and purpose of the research lies in the specifics of substantiating the readiness of students-choreographers for rehearsal activities. The assessment of the elaboration of the proposed research topic in the scientific and methodological literature on the art of choreography and dance pedagogy is carried out. The aim is to identify and substantiate the pedagogical conditions for increasing the efficiency of developing the skills of rehearsal activity among studentschoreographers in the process of mastering choreographic disciplines at the university. The definition of “rehearsal activity or rehearsal component of choreographic activity” has been clarified. There are four main directions for the development of pedagogical conditions. A step-by-step algorithm for rehearsal activities has been developed, which formed the basis of the pedagogical conditions for the professional readiness of a student-choreographer.
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Heimonen, Kirsi, and Leena Rouhiainen. "In the shadows: Phenomenological choreographic writing." Choreographic Practices 13, no. 1 (July 1, 2022): 75–96. http://dx.doi.org/10.1386/chor_00042_1.
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This article introduces a piece of choreographic writing. It likewise discusses the kind of site-specific choreographic process of opening up to what in everyday life is not apparent and left in the shadows that generated the writing. The objective of the choreographic process was to allow the impact of the bodily sense of being in contact with an urban location to permeate the authors’ activities in writing. To support this intention, they generated a phenomenologically informed performative score of experimental writing that aims at appreciating the vitality of the sensuous. The first part of the submission presents the actual choreographic writing as an evocative piece of choreography that can be read independently of the second part. This latter part contains an exploration into conceptions about choreography and writing. Here, the article draws specifically on Jean-Luc Nancy’s insights to articulate the kind of phenomenological approach the authors engaged in. It aims at establishing their artistic process as a phenomenologically oriented method in expanded choreography and argues that the writing they generated exscribes their encounter with the Hakaniemi bank in Helsinki on a late December day. It likewise details the significance the body bears on their take on choreographic writing and points towards the manner in which this writing contains traces of the inexpressible and non-thinkable.