Journal articles on the topic 'Folk choreographic art'
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1
DEM’YANKO, N. "COMPONENTS OF NATIONAL CULTURE IN PEDAGOGICAL HERITAGE AND ACTIVITY OF V. VERKHOVINETS." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 22 (November 7, 2018): 81–86. http://dx.doi.org/10.33989/2075-146x.2018.22.185019.
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The article considers the components of national culture as theoretical foundations of pedagogical heritage and activities of the outstanding Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composerV. Verkhovynets. These include folklore, musical, choreographic and dramatic art. The essence of Ukrainian folklore as a form of social consciousness and its national peculiarities is revealed. The criteria of distribution of folklore to genres are given (by discharges, means of artistic expressiveness and the nature of their combination). Epic prose and song genres are described. The specifics of using animal tales by the teacher are revealed. The author analyzes artistic features of lyrical genres: songs (labor, charm, anthem, heroic, elegiac, humorous); musical-choreographic (domestic dance, plot dance), song and choreography (dance song, round dance, choral and play song). Dramatic genres (ceremonial games, folk games, folk drama) are described. The educational value of Ukrainian folklore, musical and choreographic art is revealed. The peculiarities of their application by V. Verkhovynets in work with student and student youth, with artistic theatrical, choral and choreographic groups are analyzed. The role of choral art in the educational process was identified and its place in the work of the teacher was determined. The results of implementation national culture’s components in its theoretical activities (creation of scientific works "Ukrainian Wedding", "Theory of Ukrainian folk dance", "Vesnyanychka") are highlighted.
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Kondratenko, Yurii A., and Elena N. Antipkina. "Actualization of traditional art practices in contemporary art of Mordovia (in the context of creating choreographic suites)." Finno-Ugric World 12, no. 3 (October 26, 2020): 314–24. http://dx.doi.org/10.15507/2076-2577.012.2020.03.314-324.
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Introduction. Among the processes that are clearly traced in the modern artistic practices of Mordovia, there is one that draws particular attention – the desire to comprehend folk art in a new way, to actualize the traditional layers of culture within the framework of neo-traditional forms of contemporary art. A folk dance is an example of one of the directions of modern choreography. The purpose of the article is to review the experience of creating choreographic suites in modern dance in Mordovia, based on traditional folklore. This allows studying the techniques of citing traditional forms of folk art in contemporary art and the ways of their actualization. Materials and Methods. As the main material for studying, this study analyzed the performances of choreographers of Mordovia, working with such modern dance as choreographic suites «Girl-birch» and «Eight Mordovian songs». It was possible to formulate answers to the research tasks as a result of the application of a systematic analysis of sources on this topic, as well as carrying out a comparative analysis of the compositional structures of these choreographic suites, the specific features of the construction of their choreographic texts and work with musical material. Results and Discussion. The actualization of traditional artistic practices in contemporary art is an experiment and constant search for new ways of expression. Within the framework of one of the neo-traditionalist trends in contemporary art, folk dance, one can observe the way how traditional values are rethought and considered as relevant now, thereby the past becomes part of the modern way of life. In this context, the analysis of the search for a new way of expression within the framework of the suite form is of particular interest. As a result of the analysis of the compositional forms of modern choreographic performances in Mordovia, it revealed two trends in the development of the form of a choreographic suite: a movement along the path of creating a production with non-classical content on the basis of the classical suite structure and an appeal to traditional compositional forms of folk art and filling them with relevant content. Conclusion. The neo-traditional trend in art is based on the idea that tradition is not only the past of the people, it also exists here and now, our actual present. With the advent of the folk direction in modern choreography, the search for such an actual true tradition has become a unique feature of modern dance in Mordovia. Within the framework of this article, some ways of the development of folk direction were noted, associated with experiments in relation to the form of a choreographic suite and the main trends in the search for the development of the dance form were outlined.
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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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Narskiy, I. V. "FICTION IN "AUTHENTICITY" SUBSTANTIATION: HOW THE SOVIET CHOREOGRAPHERS SUBSTANTIATED FOLK CHARACTER OF THEIR WORKS." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 61–67. http://dx.doi.org/10.17721/ucs.2019.1(4).12.
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Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreog- raphers’ "ethnographic expeditions" down the country and their desire to "learn from the people" dance technique. Why did "field collection" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the invention? In the article subsequent steps are undertaken to answer these questions. Firstly, the place of amateur dance art performance in the official soviet culture and the specialists’ role of choreographic business in its development are out- lined. Secondly, there is an explanation of reasons of author’s doubts in authenticity of soviet choreographers’ numerous stories about "going to the people". Thirdly, the art of dancing soviet experts’ motives, that frequently inspired them to the fictional stories about the collection of choreographic folklore are explained. Therefore, it makes an attempt to renew folk dance soviet specialists’ logic of notion about the subject of their passion, liking and professional activities. In the issue the author comes to the conclusion that ritualized stories about the analysis of folk sources by choreographer-directors were the significant argument in corroboration of "folk roots" of the soviet choreographic creative work. As the result, in the soviet discourse of folk dance the stories about choreographic "going to the people" paradoxically made instrumentalization of fiction in substantiation of "authenticity".
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Shinzhina, Aiana Ivanovna. "Altai National Dance Theater “Altam” as a laboratory of practical implementation of the results of research work on studying traditional culture of the Altai people." Культура и искусство, no. 2 (February 2021): 65–79. http://dx.doi.org/10.7256/2454-0625.2021.2.34621.
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The subject of this research is the analysis of choreographic art of the Altai Republic in the context of reconstruction of the concepts of traditional culture of the Altai people on the example of the State National Dance Theater “Altam”. Relevance of the selected topic lies in the fact that Altai dance is studied virtually for the first time. The article reviews the traditional culture of the Altai people, namely dance culture. The goal is to examine Altai dance as an independent form of choreographic art in reconstruction of the artistic stage imagery. The theoretical and practical significance consists in proving the relevance of analysis of the activity of the Altai Dance Theater “Altam” as a laboratory of practical implementation of the results of research work on studying traditional culture of the Altai people. The acquired results on the development of choreographic art in the Altai Republic give a better perspective on the artistic-imagery structure of stage performance. The methodological framework is based on the art, historical, and comparative methods that allows clarifying the specificity of development of the Altai folk choreography in the context of ethnic theatrical art, as well as revealing the peculiarities of such organics in creating the artistic-imagery structure of stage performance. Scientific novelty lies in the attempt to generalize and analyze the sources for studying the Altai dance. The author traces the evolution of the national choreographic art, beginning with the folklore origins. The article introduces into the scientific discourse the factual material, such as examination of dance elements in petroglyphs, folk epic tales, folklore, cultural rites, folk games and songs. The author observes the transformation of the indicated range of sources in various genres of national choreography. The analysis of ethnic creativity of the Altai National Dance Theater “Altam” demonstrates that for many years Altai dance integrates the typical for Altai people motions, poses, gestures, substantiated by ethno-genetic identification. The article directly connects the traditional Altai dance and formation of the Altai folk stage dance for the purpose of establishment and development of the professional choreographic art of the Altai people.
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Зозуля, К. В. "НАВЧАННЯ ХОРЕОГРАФІЇ ДІТЕЙ МОЛОДШОГО ШКІЛЬНОГО ВІКУ В СУЧАСНИХ ПОЗАШКІЛЬНИХ ЗАКЛАДАХ М. ХАРКОВА." Spiritual-intellectual upbringing and teaching of youth in the 21st century, no. 3 (2021): 118–22. http://dx.doi.org/10.34142//2708-4809.siuty.2021.26.
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The article examines аn analysis of well-known art groups, dance and choreographic clubs, folk, modern and modern sports and ballroom dance ensembles in Kharkiv has been given. It has been established that choreography training for primary school-age children in extracurricular institutions is currently taking place in amateur groups and in specialized art institutions
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Zuev, Ilya N., Igor L. Musukhranov, and Ekaterina G. Romanova. "ASPECTS OF THE THEORETICAL UNDERSTANDING OF THE FOLK AND FOLK STAGE DANCE OF ALTAI." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 225–33. http://dx.doi.org/10.17223/22220836/41/19.
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The development of Altai dance is closely related to the history of the Altai people. Modern Altai people, like other Turkic peoples of Southern Siberia, have not preserved traditional dances in the form in which they were performed in everyday life. The reason for this was that the art of dance has a spatially – temporal character and it is difficult to record it. It is necessary in the analysis of folk dance to use the instrumentation of all fields of art science, to apply a systemic and interdisciplinary approach. It is in this that the authors see a further research horizon. In modern conditions, when the self-consciousness of each people increases, choreographic art, as part of the spiritual culture of the people, responds to all the events of life. The relevance of this study is due to the modern trend of the revival of the national and cultural heritage of the Altai Republic. One of the pressing problems of modern choreography, its theoretical understanding, is the study of the origins of folk stage dance. The fact that lacunae exist in this area of historical and cultural knowledge is evidenced by the lack of textbooks, incomplete complexes of educational and methodological literature. Choreographers, both in the educational process and in staging practice, are faced with the need for a clear theoretical design, the development of a scientific apparatus in this matter. In folk dance, closely connected with the life and life of the people, the peculiarities of its character, feelings, temperament, manner of artistic thinking are especially pronounced, that is, a kind of “choreographic portrait of the nation” is created. Folk dance, plastically expresses ethnic historical experience, is a kind of artistic embodiment of the historical memory of the nation, and thus affects the strengthening of national identity. The importance of the theoretical understanding of folklore in the development of choreography (as in musical or decorative art) is difficult to overestimate. He is a source of ideas, expressive means, often becomes an aesthetic standard in the creative activities of the modern choreographer. The national identity of the dance culture of the people is connected with the stable historical community of language, territory, economic life, psychological warehouse, culture of life, customs and traditions. National art bears both the originality of what it reflects and how it reflects. All this is reflected in folk dance, affects the nature of plastic. From here, the dances of one people are not similar to those of another, and even one ethnic group, divided geographically, dances differ. For example, Russian folk dance has common features characteristic of Russian dance in general, but at the same time it also has bright regional features. Dance culture in geographically distant territories varies in character, manner of performance, and originality of drawing, and subject matter. The main difficulty in studying this issue is the difficulty of “translating” the plastic language into speech discourse. Hence the difficulty in fixing and writing the description of choreography. There may be discrepancies and misinterpretations of the records of researchers of the past due to the lack of an agreed methodology and categorical apparatus.
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Pidlypskyi, Andrii. "Creativity of teachers-choreographers of the Terebovlyan Cultural Education School of Anatolii and Oleksandra Polishchuk." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 75–81. http://dx.doi.org/10.32461/2226-2180.39.2021.238691.
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The purpose of the article is to identify the main aspects of the work of choreographers of the Terebovlya Cultural Education School Anatolii and Oleksandra Polishchuk. Methodology. The use of a set of general and special methods, such as analysis and synthesis, culturological approach, consideration of events in chronological order, art analysis to identify stylistic features of choreographic productions by A. Polishchuk, etc., contributed to the objective study. Scientific novelty. For the first time, a special study is devoted to the works of Anatolii and Oleksandra Polishchuk, their role in the development of the choreographic culture of the Ternopil region is clarified, stylistic features of A. Polishchuk’s choreographic performances are revealed. Conclusions. The powerful artistic impulse received by Anatolii and Oleksandra Polishchuk, future teachers of the Terebovlya Cultural Education School, at the O. E. Korniychuk Kyiv State Institute of Culture made it possible to reach the highest levels of artistic and pedagogical skill in the Ternopil region. They resumed the work of the dance ensemble at the school, created a folk dance ensemble "Chervona kalyna" in Ternopil. A. Polishchuk's choreography combined artistic rethinking of Nadzbruchany choreographic folklore, interpretation of dances that became symbols of Ukrainian folk choreography ("Kozachok", "Hopak", etc.) with author's choreographic compositions, the figurative structure of which is closely related to the rich folk culture, in particular, the symbolism of household items and psychoemotional characteristics as a sign of ethnic mentality ("Chervona kalyna", "Loburyaki").
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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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Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.
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The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.
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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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Filimonova-Zlatohurska, Yevheniia. "FOUNDER OF FOLK CHOREOGRAPHIC ART OF VINNITSA REGION ANATOLIY KONDYUK." Knowledge, Education, Law, Management 2, no. 3 (2021): 61–66. http://dx.doi.org/10.51647/kelm.2021.3.2.10.
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Talpă, Svetlana, and Mariana Vacarciuc. "5. Artistic Expressiveness - Exhaustive Component in the Teaching-Learning Process for “Dance” Specialty Students." Review of Artistic Education 1, no. 23 (April 1, 2022): 152–62. http://dx.doi.org/10.2478/rae-2022-0020.
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Abstract The given paper elucidates one of the main professional skills of a dancer / performer - artistic expressiveness. Following the analysis of several studies in the field of choreographic art dedicated to expressiveness and methods of its development in choreographic creation, the concept of expressiveness is revealed by defining it in different types of art, cultural studies, philosophy, etc. The most complex description of the component of artistic expressiveness is present in classical, folk and modern dance, where the conditions of its formation and development are exposed in the practical classes of classical, folk and modern dance. The stated issue was researched in a study was conducted over three years of university studies at cycle I (Bachelor).
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SYNIEOK, Vira, and Kostiantyn KALIIEVSKYI. "Patriotic education of the youth by means of folk choreographic art." Humanities science current issues 2, no. 48 (2022): 54–59. http://dx.doi.org/10.24919/2308-4863/48-2-9.
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Lytvynenko, Viktor. "Aesthetic reflection of the labor process of production in the art of folk stage choreography of Ukraine." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 70–74. http://dx.doi.org/10.32461/2226-2180.39.2021.238690.
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The purpose of the article to research the creative work of choreographers of Ukraine, who devoted a significant role in the staging work to dances on a labor theme. Relying on a certain historical concreteness, they accurately reflected different aspects of the relationship of people and classes in work with the expressive means of choreography. Most of them reflect the artistic images of people for whom work is the first vital need, a source of creative joy, and a sacred duty to society. Therefore, the content of their works was a love of work, a creative attitude towards it, a constant desire to improve their work, to increase their contribution to the common cause. The modern world has, to some extent, changed the attitude and attitudes of people in production, as well as their attitude to work. Therefore, artists-choreographers face new tasks in creative work on the creation of dances on a labor theme, and at the same time in reproducing life problems that concern a modern working man. The research methodology is based on the use of comparative and art historical methods. This methodological approach allows us to reveal and analyze the features and significance of dances on labor topics, which were staged by famous Ukrainian choreographers in folk stage choreography. The scientific novelty of the work lies in expanding the process of the creative associative imagination of the choreographer-director, using the images of workers from the people choreography, first of all, he must study and analyze well how people, their morals, way of life, technology have changed in the new conditions of society. New life gives birth to new dances, new plots, new choreographic compositions. Conclusions. When staging a folk-stage dance on a labor theme, in which the main character is the folk image of a worker, the choreographer, combining various arts in musical-plastic synthesis and possessing all the expressive means of dance, must understand well that the image of a single worker-worker is not the traits of a real person are simply written off; this is a generalized, typified image of a certain group of working people. In some cases, these generalizations in scale may be the face of the workers of an entire large enterprise. Thanks to the artist's creative work, the artistic images of workers reflect not only the production process, their relationship in production, but also form the national consciousness of society.
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ÖZTÜRKMEN, ARZU. "ANTHONY SHAY, Choreographic Politics: State Folk Dance Companies, Representation and Power (Middletown, Conn.: Wesleyan University Press, 2002). Pp. 290. $65.00 cloth; $19.95 paper." International Journal of Middle East Studies 35, no. 4 (November 2003): 642–44. http://dx.doi.org/10.1017/s0020743803270264.
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Anthony Shay's Choreographic Politics fills an important gap in the research of the history of folk dancing, a gap opened by the controversial status of “state folk dance ensembles,” whose performances have often been neglected or despised by folklorists and dance scholars. Staged folk dances have always charmed audiences with the energy they embed in their performances but they have also puzzled them, because it is clear that they are more of a “representation” than a true reflection of a locality's reality. The analysis of “state folk dance ensembles,” then, moves on the edges of folklore and “fake lore,” the art of dance and the ethnography of dance. Choreographic Politics touches on this very sense of illusion and disillusion, focusing on the politics of state folk dance ensembles, a cultural product of the post-war era.
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Shankina, Svetlana V., and Yury V. Shankin. "Scientific and methodic support of effective teaching and upbringing by means of choreography in preschool education institutions." Tambov University Review. Series: Humanities, no. 186 (2020): 168–74. http://dx.doi.org/10.20310/1810-0201-2020-25-186-168-174.
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We consider a special area of didactics – teaching preschool children by means of choreographic art. We scientifically substantiate methodic support that effectively affects the development of preschool children by means of choreography, identifying, among other ways, the development of physiological and psychological qualities of this age category. We also define the principles and methods of teaching and upbringing by means of choreography in preschool education institutions. Interest in the study is also caused by the developed educational program “Basis of choreography” for preschool children, which provides for the construction of the teaching and education process in a spiral with improvement at each stage to a qualitatively new level of mastering the basics of rhythmics, the ABC of classical, folk, modern and ballroom dancing.
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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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Spinul, Igor, and Elena Spinul. "THEORETICAL AND METHODOLOGICAL FUNDAMENTALS OF TRAINING OF FUTURE SPECIALISTS OF MODERN BALLOT DANCES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 128–33. http://dx.doi.org/10.36550/2415-7988-2021-1-195-128-133.
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In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of folk dance. Modern society places high demands on the professional training of future teachers in the field of culture and art. Fundamental knowledge of philosophy, pedagogy and psychology, ethics and aesthetics, other sciences help to organize the educational process with its main purpose, didactic, educational, developmental tasks, traditional and interactive methods, learning technologies and organizational forms determined by the teacher in accordance with modern requirements. put forward by the «Law of Ukraine on Higher Education» and state educational standards. The process of training a specialist in the field of ballroom dancing is based on the presence of practical training, adjustment, consolidation of movements and skills of the teacher, because without in-depth analysis of body movements in various dance performances, the idea of ballroom dancing Constant quality control and the creation of individual tasks will promote self-analysis of the student, his understanding and understanding of the importance of the balance between mental activity, physical and spiritual development. In the article the author explores the specifics of teaching modern ballroom dancing in higher education; defines the essence, criteria, requirements of choreographic and performing skills as a competence. The characteristics and features of the teacher-choreographer, his personal qualities are presented.
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Людмила Щур. "НАРОДНА ХОРЕОГРАФІЧНА КУЛЬТУРА ЗАХІДНОГО ПОДІЛЛЯ: ПРОБЛЕМА РЕКОНСТРУКЦІЇ ТАНЦЮВАЛЬНОЇ ТРАДИЦІЇ." Science Review, no. 10(27) (December 30, 2019): 22–28. http://dx.doi.org/10.31435/rsglobal_sr/30122019/6864.
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Due to globalization processes in the modern society there is an urgent need to preserve and develop the cultural heritage of the Ukrainian people. Today, the scientific understanding of the development of various types of Ukrainian creative activities is especially relevant. Among the variety of artistic genres, folk choreographic culture is a striking phenomenon. However, not only the government, but also scientific and educational institutions, choreographic ensembles of both professional and amateur levels should make efforts in order to preserve and develop folk choreographic traditions in the modern socio-cultural space.The problem of dance genres restoration, where the main focus is on preserving the national choreographic culture of the studied region, remains relevant today. The purpose of the article is to recreate a complete picture of functioning of folk dance art in Western Podillya in the course of its historical development and transformation. The beginning of the study of authentic Western Podillya dance genres dates back to second half of the XIX century. It indicates the way of life and style of some traditional dance genres in the territory of the studied region. In order to highlight the problem of restoration of the Western Podillya dance tradition, we briefly summarize the genre classification and its stylistic features. In order to reconstruct the dance tradition of the region, we have organized research work of the creative laboratory, which was created on the base of the Vesnyanka dance ensemble of the Ternopil Volodymyr Hnatiuk National Pedagogical University. The structural and functional model of the activity of the ensemble-laboratory of Western Podillya ethnography in the form of a graphic image developed by us consists of two main blocks.The research has shown that due to the unity of content and form, the folk choreographic culture of Western Podillya influences the formation of personality and performs certain functions of socialization.
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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Igor, Musukhranov. "RELATION BETWEEN ALTAIANS' PEOPLE'S GAME AND ALTAIAN TRADITIONAL CHOREOGRAPHY: PROBLEM STATEMENT." Proceedings of Altai State Academy of Culture and Arts, no. 1 (2021): 21–27. http://dx.doi.org/10.32340/2414-9101-2021-1-21-27.
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The paper considers a relation between dance and plastic culture of Altaians and some symbolic and artistic images, plot devices of feast and ritual complex and ritual people's games of the indigenous Turkic people of Altai. On the author's opinion, choreographic thinking of Altaians (in dramaturgy, imagery, rhythm, structure of dance) developed under the influence of people's culture, traditional cults. A need of further scientific examination of historical and ethnographic materials reveal traditional culture of Altaians in the context of approximation of today's version of folk stage dance to original examples of Altaian ethnos' choreographic art is stressed out.
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Арестова, Вероника Юрьевна, and Татьяна Павловна Андреева. "CRITERIA FOR TRAINING OF FUTURE LEADERS OF AMATEUR CHOREOGRAPHIC GROUPS FOR STAGE INTERPRETATION OF THE CHUVASH FOLK DANCE." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 3(108) (October 20, 2020): 151–58. http://dx.doi.org/10.37972/chgpu.2020.108.3.017.
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Современная практика подготовки специалистов сферы культуры и искусства характеризуется определенными требованиями к студентам, к их профессиональным компетенциям, одна из которых - способность сохранять и популяризировать культурные ценности, в том числе фольклор и народное художественное творчество. Целью статьи является обоснование основных критериев, определяющих эффективную подготовку будущих руководителей хореографических любительских коллективов к сценической интерпретации чувашского народного танца. Термин «критерии» используется в данной статье для описания признаков, на основании которых можно судить о наличии или отсутствии у студентов знаний, умений и личностных качеств, необходимых для сценической интерпретации чувашского народного танца. Для определения критериев проанализирован чувашский народный танец с позиции его сценичности. Подробно рассматриваются следующие специфические черты: массовая форма исполнения, обусловившая бытование определенной хореографии, ее организационных и композиционных решений; зрелищность, исходящая из коммуникативной природы народного танца; условность языка танца, проявляющаяся в исторически сформированных характерных элементах его лексики; образность, отражающая самобытный характер чувашского народа. Перечисляются знания, умения и навыки, необходимые будущим руководителям хореографических любительских коллективов для сценической интерпретации чувашского народного танца. The current training practice of cultural and an art sphere specialist is characterized by specific requirements for students and their professional competences. The ability to preserve and popularize cultural values, including folklore and folk art, is one of these requirements. The purpose of this article is to substantiate the main criteria of effective training of future amateur choreographic group leaders for stage interpretation of the Chuvash folk dance. In this article, the term «criteria» describes the features by which one can evaluate students’ knowledge, skills and personality traits needed for the stage interpretation of the Chuvash folk dance. These criteria are determined by the analysis of theatrical effectiveness of the Chuvash folk dances. In the course of analysis, the following specific features of theatrical effectiveness are considered in detail: participation of large numbers of people in performance, determining the existence of a certain choreography, organizational and compositional decisions; the visual appeal, emanating from the communicative nature of folk dance; the symbolism of dance manifested in historically formed characteristic elements of its language; the image reflecting distinctive character of the Chuvash people. The article lists the knowledge and skills needed by future leaders of amateur choreographic groups for stage interpretation of the Chuvash folk dance.
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Oparina, Nina A., Ulyana V. Nedelnitsyna, Irina D. Levina, Olga V. Maltseva, and Maria G. Kaitandjyan. "Peculiarities of personality formation and creative education of children through folk dance." LAPLAGE EM REVISTA 7, Extra-D (July 22, 2021): 582–92. http://dx.doi.org/10.24115/s2446-622020217extra-d1141p.582-592.
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The article emphasizes that today the priority is given to the spiritual, moral and creative education of children of primary school age. The process of forming a highly moral personality occurs, on the one hand, in the process of family upbringing, on the other, in the course of the educational process. Cultural traditions and folk art contribute to the formation and development of personality. Folk dance, being an important choreographic direction, is one of the means that support socio-cultural traditions and folk art in society. Folk dance as a means of personality formation and creative education of children performs a number of specific functions: aesthetic, ethnocultural, self-control, self-education, self-organization, self-esteem, physical activity. These functions contribute to the development of the creative abilities of the personality of children of primary school age; arouse interest in the specifics of folk culture; provide an opportunity for a constructive release of energy; satisfy the personal needs of children for a holiday, a show, a game.
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Kinder, Karyna. "Modern choreological concepts of the origin of the dance «hopak»." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 21–26. http://dx.doi.org/10.29038/2415-8143-2020-01-21-26.
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The purpose of the article is to review the art-based approaches to the study of the historical origins and features of the Hopak dance and to analyze the semantics of its plastic symbols. The methodology. The application of the analytical principle in the study of art, philosophical, cultural approaches to delineated topics, as well as historical - in the examination of the genesis and development of Ukrainian choreographic art, made it possible to conduct a scientifically objective study. The scientific novelty of the work is that for the first time a comprehensive art study of the historical origins of the Hopak dance and the semantics of its autochthonous plastic forms were conducted. Examples of the interpretation of the name of the dance, recorded in explanatory, terminological, etymological dictionaries, are given. The paper reviews the controversy of the given subject, when considering which the author provides own point of view within the context of a number of statements made by Serhii Nalyvaiko, a studier of Indo-Slavo-Ukrainian mythology and history. Conclusions. The conducted analysis of scientific literature on the investigated subject revealed the absence of theoretical developments on the problems of semantics of choreographic plastics, compositional constructions and images of Ukrainian folk dance «Hopak». Outside the field of attention of researchers are historical and cultural foundations of the development of Ukrainian folk dance in the sense of its figurative and symbolic content. The work emphasizes: Hopak, being a symbolic code of archaic culture, adequately understood by all members of society, was later transformed into a kind of informational «ethnic code» of the nation, enabling the reconstruction of lost and forgotten folk traditions.
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Zhyrov, Oleksandr. "ARTISTIC AND PEDAGOGICAL HERITAGE OF KIM VASYLENKO AS A CULTURAL AND HISTORICAL PHENOMENON." Aesthetics and Ethics of Pedagogical Action, no. 18 (September 9, 2018): 103–14. http://dx.doi.org/10.33989/2226-4051.2018.18.176327.
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The article attempts to generalize and supplement the notion of the phenomenon of the creative personality of the famous Ukrainian teacher-artist K. Vasylenko. Various aspects of his activity as a scientist, choreographer, teacher, researcher of dance art, organizer of cultural life in the country, founder of higher choreographic education in Ukraine are considered. His artistic and pedagogical ideas are systematized. The role played by K. Vaselenko in the processes of formation and development of Ukrainian folk-stage choreography has been established.The pedagogical experience of K. Vasylenko's activity in amateur dancing groups «Dnipro» and «Darnychanka» is analyzed. The didactic components of thecontent of the creative pedagogical process in the groups of amateur performances (political and mass work, educational and upbringing activities, stage work, concert activities, organizational and cultural-mass work, seminars of the creative group and public leaders of choreographers) are determined and grounded. The place of dance folklore in the system of education of dancers-amateurs has been established. The peculiarities of cooperation of the choreographer with the cultural-educational society«Ukraine», aimed at popularization of national culture in Ukraine and abroad, are revealed.The factors that determined the phenomenon of K. Vasylenko has been established: family upbringing; participation in amateur activities during schooling; cooperation with prominent Ukrainian figures of the 20th century; cultural and educational activities at the Dance and Honored Dance ensembles of the Ukrainian SSR «Dnipro» and «Darnychanka»; ethnographic research activity at the Institute of Art Studies, Folklore and Ethnography; scientific and pedagogical activity at Kiev State Institute of Culture; active cooperation with the cultural-educational society «Ukraine»; personal and professional self-improvement of the teacher throughout life.
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Adlin, Dilinar. "Aesthetic Concept - Choreography of Piso Surit Dance in Karo Community." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 1 (February 5, 2020): 172–82. http://dx.doi.org/10.33258/birle.v3i1.770.
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Piso Surit dance in Karo community has distinctive characteristics in its movement techniques, floor patterns, environmental ethical norms, and symbolic-philosophical images. All of these characteristics grow and develop in line with aspects of the living environment that have been integrated in each form of art. This study aims to explain: 1) the basis and rules of Piso Surit dance; and 2) the concept of Piso Surit dance choreography. This study uses a choreographic-anthropological approach, which is to analyze the relationship of dance motion with the aesthetic choreographic concept of Piso Surit dance and Karo community's mindset. Observation, documentation, and interview techniques are used to collect data and then the triangulation data analysis process is carried out to obtain the credibility of the data. The results showed that the rules for the use and application of motive motives fall into two categories, namely for male dancers and female dancers. The application of the prevailing floor pattern is dealing with their partners, side by side, and encircling each other. The rules for the use and application of accompaniment patterns intend to create a unified nature that is subtle, gentle, and harmonious. In the concept of choreography, Piso Surit's dance movements are broken down into nine (9) sections. The movements use techniques such as: a) tiptoeing, b) rotating movements, c) stopping fingers, and d) up and down movements. The music used as accompaniment in the Piso Surit dance is a folk song in Karo area with the same title. This dance uses 'beautiful' make-up to emphasize the dancer's facial lines in a dance performance, while the fashion is a dress code as used by Karo community. As a pair dance, the floor pattern applied is to show or emphasize the story of how young Karo young people combine love.
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Koval, Petro, Stepan Zabredovskyy, Alina Pidlypska, Olha Boiko, and Iryna Gutnyk. "The influence of choreographic art on the formation of national and cultural values among students." LAPLAGE EM REVISTA 7, no. 3C (October 1, 2021): 500–505. http://dx.doi.org/10.24115/s2446-6220202173c1651p.500-505.
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In the context of globalization and nation processes, the problem of preserving national culture, their traditions and customs as the titular nation is especially acute. Therefore, today one of the main tasks is the formation of national identity, including by means of folk dance. The main tasks and priority areas for the formation of national identity are determined by the State National Program "Education" (in the XXI century), which notes that national education is one of the main priorities, an organic component of education. National education is aimed at attracting citizens to the deep layers of national culture and spirituality, the formation of national worldview positions, ideas, views and beliefs in children and young people based on the values of national and world culture.
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Stepaniuk, Ihor. "The contribution of A. Pashkevych into the development of Volyn state folk choir in 1978 – 1989." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 135–40. http://dx.doi.org/10.32461/2226-2180.39.2021.238708.
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The purpose of the article. The investigation aims to highlight the contribution of Anatoliy Pashkevych to the formation of the Volyn state folk choir in the framework of his life and work. The methodology of investigation is based on such general scientific methods of research as the methods of objectivity and historicism, as well as the special historic-biographic method. The methods of objectivity and historicism allow us to observe the influence of A. Pashkevych on the work and development of the Volyn folk choir. The special historic-biographic method is used to define the work of the composer through his life path. The given method allows generalizing his art achievements of different timespans through the analysis of his personal accomplishments. Scientific novelty. Complex research of artistic work of Volyn state folk academic choir through the framework of life and art involvement of A. Pashkevychis done, the repertoire of the group is analyzed; the influence of the choir on the development of the vocal-choreographic culture of Volyn region and Ukraine is defined. Conclusions. A Pashkevych, as the composer, the singer, and the head of Volyn state choir and other famous choirs of Ukraine, has contributed much into Ukrainian musical culture in 1978 – 1989.
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Antoniuk, V. O. "THE TYPES OF THE CHOREOGRAPHIC WORK AS AN OBJECT OF COPYRIGHT IN UKRAINE." Actual problems of native jurisprudence, no. 4 (August 30, 2019): 38–40. http://dx.doi.org/10.15421/391908.
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The article explores the classification of a choreographic work as a copyright object. The legally significant bases of the classification are determined, on these basis the different types of choreographic work are differentiated. The main reasons are the style and the structure of the choreographic work. In the style, the choreographic work is divided into folk, ballroom, modern and classical dance, in the structure – dance and the dance show. The author also formulate definitions of these concepts. The article presents a number of definitions of the concept of dance through the lens of art, culture and law. Analyzing the latter, the author gives own definition of this term as a copyright object: dance is a system of conditional movements (pa), gestures and poses, pantomimes, subordinated to the general rhythm. The concept “dance show” is defined as follows: dance show is a system of movements, poses, gestures, pantomimes, combined with one thought, with musical accompaniment and choreographic images, which can be fostered by scenery, costumes, stage light and more. In addition, the article identified the features of dance and the dance show, which allows to delineate these concepts. The signs of dance as an object of copyright are creative, objective form of expression, the presence of movements, poses, gestures, pantomimes arranged in a certain sequence, the presence of rhythm. Among the features of a dance show are the following: creative character, objective form of expression, system of movements, poses, gestures, pantomimes, musical accompaniment, idea of the work, choreographic images. After analyzing these features, the author defines the main difference between these features: a dance show is a complex work that contains a different object of copyright – a piece of music, and it can also contain other results of intellectual creative activity (costumes, scenery and more). At the same time the dance is a sequence of elements of choreographic vocabulary. One more concept which the author reveals in the article is “choreographic show”. The author equates this object to ballet performances, musicals and considers it necessary to protect them as musical-dramatic works, because they are inherent in all the signs of the last.
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O.O., Tarantseva. "ESTABLISHMENT AND DEVELOPMENT OF NATIONAL FOLK STAGE CHOREOGRAPHY." Collection of Research Papers Pedagogical sciences, no. 90 (November 4, 2020): 119–23. http://dx.doi.org/10.32999/ksu2413-1865/2020-90-19.
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У статті проаналізовано джерела та історичні передумови розвитку національної народно-сценічної хореографії. Визначено етапи становлення й розвитку виконавської школи народно-сценічного танцю та балету в Україні, відповідно, проаналізовано зміст та форми народної хореографії, визначено місце і роль танцювального мистецтва у культурному надбанні українців.Визначено плеяду видатних балетмейстерів, які внесли значний вклад у розвиток та пропаганду хореографічного мистецтва. Зокрема, відзначається праця Б. Ніжинської «Рух і школа руху», в якій висвітлюються педагогічні й естетичні погляди авторки та її увага до використання характерного тан-цю у створених нею балетах «Дванадцята рапсодія» на музику Ф. Ліста та «Похоронний марш» на однойменну музику Ф. Шопена. Наголошено про збагачення танцю новими рухами та його поєднання з виразними засобами, якими є слово, музика, світло, танцювальні костюми, бутафорія тощо, за допо-могою яких більш виразно передаються складні почуття та певні життєві ситуації.Велику увагу приділено відстеженню джерел та шляхів становлення й розвитку системи підготов-ки танцюристів від танцювальних студій і шкіл до професійних навчальних закладів та їх засновни-ків: І. Іваницького, Д. Ширая, М. Піона, В. Верховинця, М. Мордкіна, Б. Ніжинської, О. Гаврилової, І. Чистякова.Акцентується увага на побудову та малюнок українських танців (під пісню, під музику, лінійні, геометричні, коло, вуж, ланцюг, лави тощо), їх тематичну направленість (сюжетні, побутові, релігійні, патріотичні, хороводні, національні тощо).Проаналізовано виділення театрального танцю з побутового та його перетворення на самостійний вид сценічного мистецтва – балет, а також подальший розвиток балету шляхом доповнення мораль-них проблем філософськими, казкових сюжетів реалістичними, наповнення національною тематикою балетних вистав.Підкреслено, що засади, на яких ґрунтувалася виконавська школа народно-сценічного танцю на початку ХХ ст., мали глибоке історичне коріння, зокрема, народна хореографія завжди була невід’єм-ною частиною культурного розвитку українського народу. The article аnalyzes the sources and historical prerequisites for the development of national folk-choreography. The stages of formation and development of the performing school of folk-dance and ballet in Ukraine are determined, the content and forms of folk choreography are analyzed accordingly, the place and role of dance art in the cultural heritage of Ukrainians are determined.A galaxy of outstanding balletmasters who have contributed significantly to the development and promotion of choreographic art has been identified. Particularly noteworthy is the work of B. Nijinsky’s Movement and the School of Movement, which highlights the pedagogical and aesthetic views of the author and her attention to the use of characteristic dance in her ballets. Emphasis is placed on enriching the dance with new movements and combining it with expressive means such as words, music, light, dance costumes, intercommunication, etc., which more clearly convey complex feelings and certain life situations.Much attention is paid to tracing the sources and ways of formation and development of the system of training dancers from dance studios and schools to vocational schools and their founders I. Ivanitsky, D. Shirai, M. Pion, V. Verhovynets, M. Mordkin, B. Nizhynsky, O. Gavrilova, I. Chistyakov.Attention is paid to the construction and drawing of Ukrainian dances, their thematic orientation (story, household, religious, patriotic, dance, national, etc.).The separation of theatrical dance from everyday life and its transformation into an independent form of the performing arts – ballet is analyzed, as well as the further development of ballet by supplementing moral problems with philosophical, fairy-tale subjects realistic, filling the national theme of the ballet performances of “Lily” by K. Dankevych. Svechnikov, “Sorochinsky Fair” by V. Gomolyak, “Shadows of Forgotten Ancestors” by V. Kireyko, “Dawn Lights” by L. Dychko, “Kamianar” by M. Skorik.It is emphasized that the foundations on which the performing school of folk-dance at the beginning of the twentieth century was based had deep historical roots, in particular folk choreography has always been an integral part of the cultural development of the Ukrainian people.
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Truzhenikova, Lyudmila Anatolievna, and Patimat Uduratovna Mukhueva. "Foreign Tour Activity of the Ensemble “Lezghinka” as One of the Factors of Cultural Relations of the USSR with the East Countries in the 1960s (Based on the Materials from the Print Media)." Общество: философия, история, культура, no. 12 (December 11, 2020): 83–88. http://dx.doi.org/10.24158/fik.2020.12.13.
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The paper analyzes an extensive tour activity of the state academic dance ensemble of Dagestan «Lezghinka» across Eastern countries in the context of cultural relations development. Based on archivial sources and materials of the periodical press, the authors emphasize that in the 1960s the ensemble became a tru representative of people’s diplomacy, carrier and popularizer of multinational culture of the country. The role of «Lezghinka» in the promo-tion of the folk choreographic art, general humani-tarian values during each tour is noted. The usage of fundamental multi-factor approach has allowed us to draw the conclusion that the ensemble having become a representative not only of Dagestan but also of the whole country plays an important role in smoothing military and ethnic conflicts, clearly indi-cating its position, carrying the banner of peace, friendship and solidarity between people.
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Pchelovodova, Irina Vyacheslavovna, and Alevtina Vasilievna Kamitova. "WITH MUSIC THROUGH LIFE (TO THE ANNIVERSARY OF I. M. NURIEVA)." Yearbook of Finno-Ugric Studies 13, no. 4 (December 25, 2019): 718–21. http://dx.doi.org/10.35634/2224-9443-2019-13-4-718-721.
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The article is devoted to the anniversary of Irina Murtazovna Nurieva, the prominent ethnomusicologist, Honored scientist, Doctor of Art. The author focuses on her scientific and creative activity and analyzes her contribution to the study of the Udmurt musical and song tradition. During her period of work in the Udmurt Institute of History, Language and Literature UdmFRC UB RAS I. M. Nurieva published five monographs and more than a hundred articles. Her works are in demand not only among the academic community and teachers of higher education, but also of all those who are interested in folk culture. It was established that a high popularity rating of her research was achieved due to the involvement of the rich material from field practices in which she was directly involved During her activities she conducted a large number of expeditions (folklore-dialectological, folklore-ethnographic, folklore-choreographic), the geography of which, in addition to the Udmurt Republic, covers the Republic of Tatarstan, the Republic of Mari El, the Kirov region. The name of the Udmurt ethnomusicologist is known not only on a Russian scale, but also outside of it. I. M. Nurieva is a returning participant in international conferences, congresses.
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Mir-Bagirzade, Farida. "ORIENTAL SYMBOLISM OF THE BALLET “SEVEN BEAUTIES” BASED ON THE POEM BY NIZAMI GANJAVI." Historical Search 1, no. 4 (December 25, 2020): 197–201. http://dx.doi.org/10.47026/2712-9454-2020-1-4-197-201.
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The author explores creative interpretations of the work “Seven Beauties” written by a humanist poet Nizami Ganjavi (7th century) from the “Hamse” cycle. The poet was a genuine erudite, connoisseur of not only Koranic texts, history, ancient and Muslim philosophy, but astronomy as well. This article is an attempt to trace the oriental symbolism in the images of Ganjavi in one of the creative interpretations of the poem “Seven Beauties” through the prism of choreographic and scenographic art. The method of research is a semiological analysis, the object of study is the ballet “Seven Beauties”, combining the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of Azerbaijani composer Kara Karayev. The composer K. Karayev actively used authentic musical traditions of Azerbaijan (musical harmonies, Ashug melodics and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet “Seven Beauties” (1982, directed by Felix Slidovker) and the new production of the Theater of Opera and Ballet named after M.F. Akhundov (2011), the author traces the transformation of the libretto and offers his own rendition of symbolism in the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been a part of a thinking person. Eastern poets chanted this search, this long and difficult road to the truth, the ideal world. Court intrigues, the luxury of the palace and the daily life of the common people, nobility, guile and love intertwined in this metaphorical Eastern parable, which formed the basis for several interpretations of the ballet “Seven Beauties”. Despite the great degree of conventionality inherent in this genre of stage art, the film ballet is characterized by dramaturgical diversity, organic entwinement of developing storylines, dynamic interrelation of social and lyrical-psychological conflicts. The transformation of the libretto to the ballet “Seven Beauties” testifies to a new, deeper reading, its coming closer to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, to eternal search for the truth, love and justice sung by the poet with oriental imagery characteristic for him.
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Marabayeva, A., and G. Saitova. "CONNECTION BETWEEN DANCE PLASTICS AND RELIGION." ASJ 1, no. 47 (April 15, 2021): 4–8. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.47.82.
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The article examines the connection between dance plastics and religion, their influence and manifestation in people's lives. The authors of the article investigate the synthesis of interpretation of folk dance and religious trends, in the context of dance as a way of manifesting and expressing feelings through plastic, as well as its use in physiotherapy and psychotherapy.
Plastic therapy, as a new form of healing, originating from the time of the existence of mankind, has gained great popularity today.
Revealing the inner potential of a person, working out at a deep spiritual and psycho-emotional level of various blocks of diseases and traumas accumulated during life, in our opinion, is healed through dance plastics. It is generally known that healing with fire, air, water, earth originates from ancient beliefs such as paganism, Tengrism, Zoroastrianism, Buddhism, Vedas and others.
Despite the fact that the interweaving of dance plastics and breathing exercises allows for therapy, integrates new possibilities and techniques in medical practice, the authors of the article consider its application only in the field of non-traditional use techniques, which has gained great popularity in our time.
Dance therapy, being one of the topics of the evoked discourse among professionals and representatives of alternative medicine, mental therapy determined the relevance of this study. Expanding the concept of "plastic therapy", the authors turn to the analysis of each term, reflecting the method of deductive research. The definition of "plastic therapy" means the presence of a plastic and semantic expression of feelings. In this case, the body is an instrument and acts as a conductor of feelings, and movements and plastic play the role of a "meditative" means through which spiritual and physical healing is achieved. Dance, as a form of sacred art, continues to develop, and finds application in new forms and manifestations.
The results of the study provide an opportunity to apply the concept of "plastic therapy" in the theory of choreographic art, as a form of creating an interpretation of dance synthesis and psychotherapy.
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Shay, Anthony. "Staging the Folk: Choreographic Issues of National Representation." Dance Research 39, no. 2 (November 2021): 222–46. http://dx.doi.org/10.3366/drs.2021.0344.
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This article looks at the multiple ways that folk dance has been staged in both the nineteenth century when character or national (the two terms were used interchangeably) dance was widely used in classical ballet, and the twentieth in which Igor Moiseyev created a new genre of dance related to it. The ballet masters that created character dance for ballet often created ballroom dances based on folk origin, but that would be suitable for the urban population. This popularity of national dance was the result of the burgeoning of romantic nationalism that swept Europe after the French Revolution. Beginning in the 1930s with Igor Moiseyev founding the first professional ‘folk dance’ company for the Soviet Union, nation states across the world established large, state-supported folk dance companies for purposes of national and ethnic representation that dominated the stages of the world for the second half of the twentieth century. These staged versions of folk dance, were, I argue an extension of nineteenth century national/character dance because their founding directors, like Igor Moiseyev, came from the era when ballet dancers were trained in that genre.
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Kvas, Olena, and Magdalyna Marushka. "Teaching Ukrainian folk dances to children and youth in Galicia (1919–1939)." Visnyk of Lviv University. Series Pedagogics, no. 35 (2021): 102–9. http://dx.doi.org/10.30970/vpe.2021.35.11310.
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The article is devoted to the peculiarities of teaching Ukrainian folk dances to children and youth in Galicia (1919-1939), when it was important to preserve national identity, and the study of folk choreography was one of the means of national-patriotic education and cultural development. The authors argue that the interest in folk dance was revived under the influence of a choreographer Vasyl Avramenko’s performing skills and pedagogical activity. Vasyl Avramenko ystematized the theory and practice of folk dances teaching and opened the first school of Ukrainian national dances. The school functioned in various cities of Galicia. It is emphasized the role of cultural, educational and sports societies and organizations in popularizing the art of folk dance among children and youth. Thus, folk dances were taught at various courses, clubs and societies such as «Prosvita», «Ukrainska Zakhoronka», “Ridna shkola”, gymnastics societies «Sokil», «Luh» etc. It is discovered that at concerts on various holidays children and youth performed Ukrainian folk dances and music performances based on folk motifs interpreted by Vasyl Avramenko, Oksana Sukhoverska, Volodymyr Terletskyi, Yaroslav Bulka, Petro Lazoryshchak and other choreographers. The most popular folk dances were: «Kolomyika», «Arkan», «Kateryna», «Chumak», «Kozachok», «Hopak», «Zhuravel». Dancers performed them solo, in pairs or in groups. Although the methodolody of dance teaching was not systematized and well-developed, students developed a sense of rhythm and harmony, grace, plasticity, artistry. This was confirmed by numerous positive reviews on the performances of young Ukrainian dancers in the press of the time. Keywords: folk dance, folk dance courses, cultural and educational organizations, youth societies.
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Höfling, Ana Paula. "Dancing Mestiçagem, Embodying Whiteness: Eros Volúsia's Bailado Brasileiro." Dance Research Journal 52, no. 2 (August 2020): 59–74. http://dx.doi.org/10.1017/s0149767720000170.
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This article analyzes the processes of branqueamento (whitening) contained within the ideology of mestiçagem (racial miscegenation) through the work of Brazilian dancer, choreographer, and dance pedagogue Eros Volúsia (1914–2004) in the context of the establishment of the myth of racial democracy in early twentieth-century Brazil. I argue that Eros Volúsia not only embodied Brazil's allegedly harmonious racial mixture through her stylized “folk” dances, but her bailado brasileiro (Brazilian ballet) in fact choreographed Brazil's modernity and aspirations of whiteness. I compare Volúsia's prominent career as a performer and pedagogue in Brazil with her brief film career in the United States, where Volúsia had the opportunity to follow in Carmen Miranda's footsteps and become the next “Brazilian bombshell,” but instead chose to return to Brazil, where she was able to maintain her white privilege and her status as author and artist.
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Bereza, R. P. "Hutsul Christmas as a Phenomenon of Christian Worldview and Folk Morality." Ukrainian Religious Studies, no. 26 (January 14, 2003): 82–89. http://dx.doi.org/10.32420/2003.26.1448.
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Hutsuls, as one of the ethnic groups of the Ukrainian people, are undoubtedly, along with fights and lemmas, among the most striking exponents of the spiritual culture of the Carpathian Ukrainians. The great attractiveness of the Hutsul's geographical space of habitation could not but affect their worldviews, bright mentality and original patterns of traditional culture. Along with unsurpassed specimens of folk architecture, folk art, choreography, the original pearls of the Hutsul's spiritual heritage include their songs.
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Kowal, Rebekah J. "Choreographing the Folk: The Dance Stagings of Zora Neale Hurston by Anthea Kraut Choreographing the Folk: The Dance Stagings of Zora Neale Hurston Kraut Anthea University of Minnesota Press , Minneapolis, MN." Dance Research Journal 43, no. 1 (May 12, 2011): 103–5. http://dx.doi.org/10.5406/danceresearchj.43.1.0103.
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Browne, Ray B. "Choreographing the Folk: The Dance Stagings of Zora Neale Hurston by Anthea Kraut." Journal of American Culture 32, no. 2 (June 2009): 167. http://dx.doi.org/10.1111/j.1542-734x.2009.00707_5.x.
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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.
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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of creativity encourages researchers to study the principles of artistic thinking, inter-style communication, and virtual creative dialogue between the authors of the original and the version at all levels of musical content and form using the samples of transcriptions. The example of such approach is the given research, which studies the mechanisms of musical interpretation creation in the genres transcription and arrangement in aspect of the contemporary composing and performing practices. The object of the study is the creativity by a bright representative of the Kharkiv school of the playing on folk instruments, Andrii Strilets, the subject of consideration in this article are his orchestra transcriptions-arrangements. The purpose of the research is to determine the principles of interpretation and inter-style dialogue in the genre of transcription on the example of the musical piece “Jazz-slide” by M. Tovpeco for two accordions in the arrangement by A. Strilets. For the first time in musicology this composition becomes an object for the theoretical analysis in aspect of the artistic interpretation and inter-style dialogue in genre of transcription-arrangement. This determines the relevance and scientific novelty of the study. For the first time also, the research is focused on the multifaceted creative activity of the talented Kharkiv musician A. Strilets, which combines the various directions – composition, conducting, bayan performance and pedagogy. Results of the study. The list of the works by A. Strilets includes dozens of positions, in particular, the orchestral opuses – about 40, the vocal pieces – more than 40, there are also the dance music, vocal-choreographic compositions and others. Composer prepared for publication the author’s collection “Concert works for bayan”, which will be a musical presentation of his work. Pedagogical work of the musician is successfully combined with the performing activity. A. Strilets is a talented accordion / bayan performer (the winner of all-Ukrainian and international competitions, among them, the prestigious international competition “Vogtland Music Days” in Klingenthal, Germany; participant of tours as a bayan player-performer in Belgium, Germany, Poland, Ukraine) and conductor. He worked as a conductor at the Kharkiv City Theater of Folk Music “Oberegi”; he made a significant contribution to the creation of the “Slobozhanskii Big Academic Song and Dance Ensemble” (2011), which he conducts nowadays, and also acts as an author and arranger of a significant part of the musical repertoire of this ensemble. Being the head of the folk instruments orchestra, musician directs his actions, first of all, to improve the performing level of the musicians, to expand the concert repertoire and the genre diversity of the performed compositions, to change and complete the instrumental compositions. The study also highlights several signs of the pedagogy of A. Strilets. As a teacher, he encourages in his class the independent thinking of the performer and the searching of a reasonable interpretation, provides the information about stylistic features of works for fully disclosing of its content, he takes into account the analysis of their dramaturgy and form, carefully relates to the reproduction of author’s remarks, aims from the musicians the task of the most accurate composer’s intention disclosure. These pedagogical principles project onto the compositional features of A. Strilets’ works, which are clearly demonstrated in sphere of his arranger’s work. The study specifies a number of basic composer principles and methods used by A. Strilets in the transcription-arrangement of “Jazz Slide”. 1. First of all, the arranger updates the timbre-texture complex of the original, redistributing certain content and form-building components in the musical “space” and “time”, giving them new configurations, which leads to strengthening or, in opposite, leveling (down to rotation) of their original dramatic functions – general and minor, solo and accompanying, monological and dialogical, ensemble and orchestral, melodic, harmonic, rhythmic and others. 2. The sound-texture aspect demonstrates both smallest and systemic changes of musical and expressive complex of the original – from the separate elements to their cumulative action, which contributes to the genre-style qualities transformation of the work, strengthening the through development in it, up to the presence of signs of symphonization. 3. Hence, the genre concept of the work is updated, and it leads to the emergence of a new genre quality – “concert-ness” – and to the consolidation of the concert status of the work (which becomes similar to a concert for two accordions / bayans with an orchestra). The quality of “concert” is also achieved due to the growing role of soloists, in particular, the strengthening of solo replicas in the orchestra (separation of elements of the original melodic themes and distribution them to orchestral groups), which leads to the polyphonization of the musical facture, emphasizing (new coloring) some features of the melodic lines of the soloists and like other. 4. At the level of harmony, on the one hand, the emphasis of its original content, on the other hand, the search of its melodic potential is observed. 5. The rhythmic parameter of sound-facture complex contributes to the enhancement of genre-style semantics of the original source, taking into account its jazz “filling”. 6. Comparative analysis of the original and version reveals signs of a method of composer interpretation that involves a creative component in arranging, supplementing, and rethinking the content of the original. Conclusion. In course of studying it was found that the arranger, at the preserving of the structure of the original piece – a contrast-composite form, updates the procession-dynamic and dramatic sides of it, primarily due to the action of the timbre-texture complex as the key interpretative factor in creating of the orchestral version of the original. The prospect of the research. The considered issues require, of course, the further research – both from the point of view of the artistic significance of genres, arrangement and transcription, in particular, for orchestras and ensembles of folk instruments, and in the aspect of the action of mechanisms of artistic interpretation and the features of the transcription process, which naturally combines composer and performing arts. The work of the talented Kharkiv musician Andrii Strilets who is one of the most prominent representatives of the Kharkiv school of folk instruments, deserves a separate study.
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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.
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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.
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Pashkova, T. V. "DRAMATIC EXPRESSIVENESS OF THE LANGUAGE OF FOLK CHARACTER DANCE IN CLASSICAL HERITAGE BALLETS." Arts education and science 1, no. 4 (2021): 150–58. http://dx.doi.org/10.36871/hon.202104019.
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The article focuses on the phenomenon of folk character dance, which is a unique feature of Russian art, traces the key stages in the development of folk character dance in Russian ballet and identifies the sources that served as the basis for its figurative language. It is noted that the language of folk character dance is the creative fruit of many choreographers, whose works in the XXIst century are perceived as vivid examples of heritage. The author reviews the specificity of imagery in folk character dance currently existing in classical ballet repertoire. Significant attention is paid to the subtleties of depicting national characters when creating dance images of various ethnic groups. The author also considers the characteristic visualization in folk character dance, highlighting and describing distinctive features of a number of national characters more frequently implemented by the language of folk character dance in classical ballet and opera choreography of Russian music theatres. The article substantiates the idea that underestimating the potential of the language of folk character dance as means of expressiveness in ballet theatre leads to limitations for the new generation of choreographers striving to create realistic and truthful dramatic characters, depriving them of national distinction. In her research, the author aims to actualize the question of preservation of national character on the Russian ballet stage in the XXIst century.
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Rutkoff, Peter M., and William B. Scott. "Appalachian Spring: A Collaboration and a Transition." Prospects 20 (October 1995): 209–25. http://dx.doi.org/10.1017/s0361233300006062.
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In late October, 1944, the Martha Graham Dance Company performed Appalachian Spring at the Library of Congress, establishing Graham as the master of modern dance. The significance of Appalachian Spring, however, went well beyond Graham's artistic development. Notwithstanding its traditional theme, Appalachian Spring heralded an important shift in American art. Following the Second World War a large segment of New York City artists abandoned the effort, so dominant in the interwar years, to create an explicitly “American” art in favor of a “modernist” aesthetic, best exemplified in abstract expressionist painting. Choreographed by Graham, composed by Aaron Copland, and designed by Isamu Noguchi, the “Ballet for Martha” marked an early expression of the shift from American realism to modernism. But unlike much of the radically nonrepresentational work of the late 1940s and early 1950s Appalachian Spring continued to embody the concerns of American realism, even unabashedly displaying its creators' continued embrace of the folk vernacular, while moving toward its modern aesthetic.
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Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (January 11, 2020): 7. http://dx.doi.org/10.3390/arts9010007.
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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.
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Browning, Barbara. "Choreographing the Folk: The Dance Stagings of Zora Neale Hurston. By Anthea Kraut. Minneapolis: University of Minnesota Press, 2008; pp. 320. $75 cloth, $25 paper." Theatre Survey 51, no. 2 (October 18, 2010): 318–20. http://dx.doi.org/10.1017/s0040557410000463.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (December 31, 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
Full textAbstract:
At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
50
Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (December 31, 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
Full textAbstract:
At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.