Статті в журналах з теми "Means of folk choreographic art"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Means of folk choreographic art.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Means of folk choreographic art".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
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.
Повний текст джерелаАнотація:
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.
2
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.
Повний текст джерелаАнотація:
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.
3
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.
Повний текст джерела
4
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.
Повний текст джерелаАнотація:
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.
5
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.
Повний текст джерелаАнотація:
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.
6
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.
Повний текст джерелаАнотація:
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.
7
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.
Повний текст джерелаАнотація:
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.
8
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.
Повний текст джерелаАнотація:
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.
9
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.
Повний текст джерелаАнотація:
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.
10
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.
Повний текст джерелаАнотація:
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.
11
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.
Повний текст джерелаАнотація:
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.
12
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.
Повний текст джерелаАнотація:
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.
13
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.
Повний текст джерелаАнотація:
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.
14
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.
Повний текст джерелаАнотація:
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.
15
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.
Повний текст джерелаАнотація:
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.
16
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.
Повний текст джерелаАнотація:
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.
17
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.
Повний текст джерелаАнотація:
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.
18
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.
Повний текст джерелаАнотація:
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".
19
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.
Повний текст джерелаАнотація:
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.
20
Todorova, Valentyna, Valentina Sosina, Valentyna Vartovnyk, Natalia Pugach, and Olena Pogorelova. "DEVELOPMENT OF STRENGTH ABILITIES IN DANCERS BY MEANS OF CHOREOGRAPHIC TRAINING." Science and Education 2020, no. 4 (December 2020): 9–17. http://dx.doi.org/10.24195/2414-4665-2020-4-2.
Повний текст джерелаАнотація:
The article presents the results of studying the peculiarities of the development of various strength abilities of dancers who are the representatives of folk-stage dance. The purpose of the work is to develop a program for the development of strength abilities using the choreography in folk dancers. A group of theoretical and empirical methods was used in the study. The pedagogical observations at training sessions with 12-15 year-old dancers and surveys of teachers and coaches on the peculiarities of the development of strength abilities were conducted; testing of indicators of different strength abilities in 12-15 year-old adolescents engaged in folk-stage dance in the Honored Dance Ensemble of Ukraine «Youth» and in the school of folk dance, folk dance ensemble «Serpanok» (Lviv) was also held. This made it possible to develop a program for the development of strength abilities, taking into account their varieties, which are necessary in folk-stage dances. The main means of developing strength abilities in the program were folk-stage dance exercises, the selection of which took into account their predominant influence on the development of a particular strength ability, the possibility of local, regional or general impact on the musculoskeletal system and the need for accurate dosing. The positive influence of the developed program on the development of various strength abilities of dancers is revealed. The obtained results can be used in the practice of teachers of choreographic groups of folk-stage dance.
21
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.
Повний текст джерелаАнотація:
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).
22
Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.
Повний текст джерелаАнотація:
The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions. The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice. The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes).
23
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.
Повний текст джерела
24
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.
Повний текст джерелаАнотація:
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.
25
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.
Повний текст джерелаАнотація:
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").
26
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, № 3 (2021): 118–22. http://dx.doi.org/10.34142//2708-4809.siuty.2021.26.
Повний текст джерелаАнотація:
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
27
Lilia Savchyn and Alla Samohvalova. "CHOREOGRAPHICAL ARTS AS A MEAN OF INTEGRATION OF STUDENT YOUTH TO EUROPEAN SPACE." World Science 2, no. 4(56) (April 30, 2020): 8–13. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7027.
Повний текст джерелаАнотація:
The article deals with the issues of student youth activity towards Eurospace. The actualization of choreographic art at the present stage of cultural formation is substantiated. Choreographic art is analyzed as a means of integration into Eurospace. Interacting with the contemporary demands and needs of society, the art of dance influences social relations, economic order, political, ethnic and national relations. It is emphasized that choreographic art is a socially significant value and is a feeling-filled aesthetic reproduction of knowledge, skills and competences.
28
Людмила Щур. "НАРОДНА ХОРЕОГРАФІЧНА КУЛЬТУРА ЗАХІДНОГО ПОДІЛЛЯ: ПРОБЛЕМА РЕКОНСТРУКЦІЇ ТАНЦЮВАЛЬНОЇ ТРАДИЦІЇ". Science Review, № 10(27) (30 грудня 2019): 22–28. http://dx.doi.org/10.31435/rsglobal_sr/30122019/6864.
Повний текст джерелаАнотація:
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.
29
Litovchenko, Olena. "MEANS OF HARMONIZATION OF STAGE PERFORMANCE IN CHOREOGRAPHIC ART." Knowledge, Education, Law, Management 1, no. 7 (2021): 72–77. http://dx.doi.org/10.51647/kelm.2021.7.1.11.
Повний текст джерела
30
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.
Повний текст джерелаАнотація:
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.
31
Tereshenko, N. "CULTURAL MODEL OF SCHOOLCHILDREN’S AESTHETIC EDUCATION BY MEANS OF BALL CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 145–61. http://dx.doi.org/10.33989/2226-4051.2021.23.238274.
Повний текст джерелаАнотація:
The article suggests that due to the structural characteristics of the cultural model of schoolchildren’s aesthetic education by means of ball choreography, the main components were identified as cultural positions of ball choreography, means of ball choreography, and criteria of aesthetic education of schoolchildren in ball choreography. There are given the structural components of the cultural model of aesthetic education of schoolchildren by means of ball choreography, that are functioning within two regulatory bases – the functioning of informal choreographic education and the importance of subjects of the artistic and aesthetic cycle in the invariant part of secondary schools’ curricula.
The first component is the cultural creation of personality, which will be considered as a process in the context of ball choreography. Active involvement of students in ball choreography is one of the ways of their personal emotional development and aesthetic growth. Communication with the art of choreography, music, physical development, expansion of aesthetic horizons, the formation of a culture of relationships (personal and public) become a basis for the cultural formation of the high school student within the process of ball choreography.
The second component of the cultural positions of ball choreography is the cultural formation of the dancer. Education of the ball choreographer involves the creation of an appropriate creative artistic environment in which the teenager will constantly feel the need for personal, creative, and aesthetic self-realization.
The third component of the cultural positions of ball choreography is the cultural formation of the artist-choreographer. Defining this position, we realize that high school students of ball choreography at a certain stage of their aesthetic development create a desire to turn this hobby into a profession. In the context of this idea, it is advisable to organize specialized art (choreographic) education within general secondary education. Despite the fact that underage dancers do not yet have a professional choreographic education, they can fully meet the set standards for a ball choreographer.
The next block of our cultural model, which we define is means of ball choreography. Analyzing the functionality of the means of choreographic art, we focused on the following components: music, choreographic text, choreographic drawing, stage choreography, and choreographic drama.
32
Shankina, Svetlana, Yury Shankin, and Evgeniya Shushpanova. "Teaching methods in choreographic art to people of mature age." Tambov University Review. Series: Humanities, no. 182 (2019): 115–22. http://dx.doi.org/10.20310/1810-0201-2019-24-182-115-122.
Повний текст джерелаАнотація:
We consider a special area of didactics – teaching people of mature age. We chose choreographic art as a sphere of students' skills development. We define not only the features of choreography, but also the specifics of the motor activity development in people of mature age using means of choreographic art revealing physiological limitations and development ways of the body of this age. The author's approach to the teaching methods in choreographic art to people of mature age is in the formation of the students’ attitude to choreography as part of a healthy lifestyle culture. Within developed programme of continuous education “Older generation” we prepared me-thodical materials, a fragment of which is in the publication.
33
SHANKINA, Svetlana Viktorovna, Olga Alekseevna DOROZHKINA, and Larisa Aleksandrovna ROMANINA. "ORGANIZATION OF INDIVIDUALLY-ORIENTED TEACHING PRESCHOOL-AGE CHILDREN IN THE FIELD OF CHOREOGRAPHIC ART." Tambov University Review. Series: Humanities, no. 176 (2018): 98–107. http://dx.doi.org/10.20310/1810-0201-2018-23-176-98-107.
Повний текст джерелаАнотація:
We consider the organization of individually-oriented teaching of preschool children in the field of choreographic art. The continuously developing concept of education, including the concept of teaching preschool children, the active introduction of innovative technologies, increasing the requirements that apply to the modern teacher, allow to make the section of preschool pedagogy regularly modernized science, the key goal of which is to introduce innovative techniques that are adaptively suitable to the psycho-physiological level of development of the modern child. It is shown that within the educational process of preschool children in the field of choreography as a fundamental goal is selected individually-oriented training and education in the field of choreographic art. The purpose of individual-oriented training and education in the field of choreographic art is the development of the child as a single person, a carrier of unique characteristics that will distinguish him from his peers. The principles of developing individually-oriented training and education in the field of choreographic art (the principle of naturalness; the principle of freedom of choice; the principle of openness of the didactic process) are characterized, the forms of organization of individually-oriented training and education of preschool children in the field of choreographic art are revealed. Research of dynamics of development of preschool children by means of choreographic art is presented. The main pedagogical technologies of individually-oriented teaching of preschool children in the field of choreographic art (health-saving educational technologies; pedagogical technologies that contribute to the systematic and harmonious development of the child's personality; project activities technology; “portfolio preschool” technology; information and communication technologies).
34
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.
Повний текст джерелаАнотація:
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.
35
Murovana, Irina. "REFORMING OF CHILDREN'S CHOREOGRAPHIC EDUCATION IN KIROVOHRAD REGION IN THE 80-s OF THE XX CENTURY." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 97–107. http://dx.doi.org/10.33989/2226-4051.2017.15.175891.
Повний текст джерелаАнотація:
The author attempts to explore the process of the reforming of children's choreographic education in Kirovohrad region in the 80-s of the twentieth century in this article. Choreographic education in the mentioned period was getting the features of continuous education. Starting from pre-school educational establishments, which had become the basis for harmonious development of a child, choreographic education was directed towards aesthetic upbringing of young people as well as universal values at all stages of learning. Thanks to public support functioning artistic groups worked effectively and new dance groups on the basis of secondary schools, palaces of pioneers and schoolchildren, enterprises, rural, urban and district houses of culture were created. Significant shifts occurred in the system of out-of-school education. Teachers-researchers focused their attention on the developing of new methods of cultural and educational work in out-of-school establishments, the events which were aimed at the improving of physical and psychological health of children, formation of the interest to the training in dance groups were especially important. Creation of creative children's associations, clubs, groups of the choreographic direction on the basis of the Kirovohrad regional Palace of Pioneers and Schoolchildren was not an exception in the system of art and aesthetic education of schoolchildren.The development of choreographic education in Kirovohrad region is demonstrated in the creation of new children's dance groups. The participation of children in the work of choreographic groups was directed at the goals gaining, namely: aesthetic education by means of choreographic art, expanding of the worldview and formation of moral qualities of a personality (collectivism, responsibility, friendship, sociability etc.). Despite the situation in the country, choreographic collectives, groups and ensembles of Kirovohrad region continued to popularize Ukrainian traditions, culture, and history of its people by means of choreographic art, to store and pass on the Ukrainian national heritage to the younger generation. The concept of «mentoring» emerged and consolidated in Kirovohrad region. In the 1980-s experienced managers of the best and most successful choreographic collectives shared their experience with young colleagues, provided consulting, gave creative tips.
36
Tsaryk, T. M., and L. I. Boremchuk. "DEVELOPMENT OF CREATIVE INDIVIDUALITY OF STUDENT BY MEANS OF CHOREOGRAPHIC ART." Innovate Pedagogy 15, no. 2 (2019): 161–65. http://dx.doi.org/10.32843/2663-6085-2019-15-2-31.
Повний текст джерела
37
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.
Повний текст джерелаАнотація:
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.
38
Pyzhianova, Nataliia, Serhiy Kutsenko, and Petro Voloshyn. "The role of folk dance in formation of the choreographer creative potential." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 252–59. http://dx.doi.org/10.34069/ai/2020.27.03.27.
Повний текст джерелаАнотація:
The aim of the article is to substantiate the role of folk dance in the process of formation of the creative potential of a student-choreographer. Methods of generalization and comparative analysis were used in the research process. The article identifies three pedagogical conditions for formation the creative potential of students-choreographers by means of folk dance. It is pointed out that promising planning for professional growth plays an important role in formation the choreographers’ creative potential. The expediency of involving students in creative experiments, which include the creation of their own choreographic sketches in the middle of the hall, as well as training exercises near the machine, is substantiated. It is noted that students' sketch work in folk-dance classes is characterized by the study of choreographic sketches on the basis of dance vocabulary. The essence of separate types of students-choreographers’ independent work is revealed. The authors point out that the development of creative thinking, creative imagination and fantasy requires the application of a set of creative tasks based on improvisation. Attention is drawn to the need for the use of interactive and information technologies. Classes with the introduction of interactive and modern information technologies maximally stimulate student-choreographer’s cognitive independence and creative activity.
39
Razvodova, Marina. "THE ESSENCE AND STRUCTURE OF CHOREOGRAPHIC-PERFORMANCE SKILLS OF JUNIOR SCHOOLCHILDREN." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 191–96. http://dx.doi.org/10.36550/2415-7988-2021-1-195-191-196.
Повний текст джерелаАнотація:
At the new stage of development of the socio-economic sphere, culture and education, the issues of artistic and creative development of the younger generation are receiving special attention. There is a growing need in society for highly intelligent creative individuals who are able to solve emerging difficulties, make non-standard decisions and implement them. All this requires the development of new methods of educating the younger generation and entails unconventional approaches to art education – as a basis for further improvement of personality. The greatest interest in this regard are younger students, as it is at this age that the foundation of personality is laid, there is an orientation to the development of spirituality, self-realization, self-expression and formed worldviews necessary in later life. Choreographic creativity is one of the means of comprehensive development of students, because the productivity of artistic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythmics, fine arts, theater and plastic arts. A characteristic feature of our time is the intensification of humanistic tendencies in the education of the younger generation. The purpose of the educational process is to maximize the development of the child as a free, active, creative, responsible and tolerant person. The search for effective ways and means of this development is recognized today as an urgent pedagogical problem. Her decision is connected, among other things, with the involvement of children in choreographic culture – a layer of culture with great moral, humanistic content, focused on artistic and creative education of the child, the disclosure of its potential. Choreographic art has great potential for full-fledged aesthetic improvement of the child, his harmonious spiritual and physical development. The formation of choreographic skills acquires special significance in preschool childhood, when the foundations of the child's value attitude to the world are laid, the basis of his personal culture is formed. In the article the author considers the relationship between the concepts of «performing activities», «choreographic-performing skills» and «choreographic-performing skills». The structure of choreographic-performing skills that are formed in the process of choreographic training of junior schoolchildren is revealed. The performing complex is analyzed, which contains motor-technical, metro-rhythmic, space-oriented, coordination and artistic-expressive components.
40
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.
Повний текст джерелаАнотація:
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.
41
Vilkhova, Oksana. "CHOREOGRAPHIC ART AS AN EFFECTIVE MEANS OF UPBRINGING CHILDREN OF PRESCHOOL AGE." Aesthetics and Ethics of Pedagogical Action, no. 19 (June 7, 2019): 88–95. http://dx.doi.org/10.33989/2226-4051.2019.19.169773.
Повний текст джерела
42
Ibrayeva, M. K. "WAYS OF USING FOLK ART IN THE HOLISTIC DEVELOPMENT OF PRESCHOOL CHILDREN." BULLETIN Series Psychology 65, no. 4 (December 22, 2020): 179–84. http://dx.doi.org/10.51889/2020-4.1728-7847.32.
Повний текст джерелаАнотація:
The article considers a variety of concepts and concepts based on the study of folk art of preschool children.The author analyzed the scientific works of some scientists who paid attention to the development of preschool children by means of folk art and considered it necessary to create pedagogical conditions for the healthy development of preschool children.Various ways of integral development of preschool children by means of folk art are offered
43
Kvetsko, Olga Ya. "Pedagogical Fundamentals of Methods of Teaching Choreographic Disciplines." Scientific Bulletin of Mukachevo State University Series “Pedagogy and Psychology” 6, no. 2 (December 28, 2020): 145–52. http://dx.doi.org/10.52534/msu-pp.6(2).2020.145-152.
Повний текст джерелаАнотація:
The study of art disciplines has its specific features and, in some ways, differs from other educational subjects. Choreographic disciplines are closely related to pedagogy and psychology and form an integral part of the development of the future leader of the amateur choreographic team, teacher of choreographic disciplines, choreographer, dancer. The study explores the problem of development of didactic fundamentals at teaching choreographic disciplines by means of which not only skill of future teachers, but also performing skill of dancers develops. The purpose of this study is to investigate the influence of pedagogical foundations on the process of teaching choreographic disciplines and creative choreographic work on the development of adolescents. According to the results of the study, different approaches to the problem of becoming the future leader of an amateur choreographic group, a teacher of choreographic disciplines, a choreographer, an artist of a dance ensemble are described. The study covered the essence of pedagogical fundamentals of methods of teaching choreographic disciplines that motivate students to professional self-improvement; the study also argued the need for the development of internal motivation for professional growth in future teachers of choreography. Studying the influence of creative choreographic work on the development of adolescents' personality, the results of empirical research on the relevance of the needs of students of the Professional College of Culture and Arts (city of Kalush) in professional self-improvement, motives of professional self-improvement, and analysis of professional competence. The practical significance of this study lies in the research of the fundamentals of pedagogical methods of choreographic disciplines to further improve this process, as well as to improve the skills of teachers
44
Furdychko, Andrii, and Olesya Ilyenko. "VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 63–67. http://dx.doi.org/10.24061/2411-6181.2.2021.270.
Повний текст джерелаАнотація:
The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.
45
Fedorchuk, Olena. "The folk-art center as a phenomenon of ethnic artistic tradition." Journal of Ethnology and Culturology 29 (August 2021): 94–100. http://dx.doi.org/10.52603/rec.2021.29.13.
Повний текст джерелаАнотація:
The research of folk-art centers is based on the materials of the ethnic artistic tradition of the Ukrainian folk costume beaded decor. The folk-art center is presented as a unique place with a strong energy field. In such places, several artistic traditions are often born and developed. The birth of each new artistic tradition is always associated with the need for works of art as in the means for the realization of socially significant functions. In particular, the artistic practices within the tradition of the Ukrainian folk costume beaded decor have always been an effective means of ethnic self-identification. During the 1950s–1970s, the tradition of the Ukrainian folk costume beaded decor had been in the phase of extinction (reverberation), thus a significant part of knowledge had been lost. Nowadays, in the context of globalization, this tradition faces new challenges, such as the danger of cultural unification. The joint annual meetings of amateur and professional folk artists, organized on the basis of the traditional folk-art centers could become an effective means for the preservation and revival of the unique nature of such centers. An important condition for the success of such measures must be the participation as curators of the professional researchers of folk art, knowledgeable of local traditions.
46
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.
Повний текст джерелаАнотація:
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.
47
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.
Повний текст джерелаАнотація:
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.
48
Максименко, Анатолій. "CHOREOGRAPHIC ART AS A MEANS OF SHAPING THE AESTHETIC VALUES OF INTENDING TEACHERS." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (May 21, 2019): 70–75. http://dx.doi.org/10.31499/2307-4906.1.2019.167968.
Повний текст джерела
49
Blahova, Tetyana. "FORMATION OF CONCEPTS OF PROFESSIONAL BALETMAYSTER IN THE CONTEXT OF DEVELOPMENT OF UKRAINIAN HOREOGRAPHIC EDUCATION." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 140–51. http://dx.doi.org/10.33989/2226-4051.2018.17.176293.
Повний текст джерелаАнотація:
The article analyzes the essential features of the profession of choreographer, substantiates the value of the artistic and pedagogical heritage of the outstanding Ukrainian choreographers of the 20th century in the development of choreographic education in Ukraine; their ballet master's works are summarized, leading tendencies of professional activity; A complex of innovative artistic and aesthetic principles of work in choreographic collectives is described.The ballet master's activity as a specific kind of artistic activity is interpreted as a complex multidimensional phenomenon in the field of professional choreography, which is embodied in the process of creative work with choreographic material. The diverse work of the well-known Ukrainian choreographers nourished the field of professional dance with scientific ideas and practical achievements, determined the strategies of its development, content, technologies, methods of work, becoming the driving force in the formation of theoretical and practical regulation of choreographic pedagogy. The retrospective of the ballet master's experience of Ukrainian choreographers allows us to generalize its specifics and determine the essential features and directions through the prism of creative activity of well-known representatives of this specialty. The content of the professional meanings of the Ukrainian choreographer combines a combination of the essential characteristics: of the philosophical and artistic position, individual choreographic handwriting, creative style, performing style, a set of expressive means. They are realized in different directions of activity. The well-known Ukrainian choreographers have substantially expanded the system of basic concepts of the choreography profession by synthesizing the achievements of several generations in the field of folk dance production, substantiating their authoritative technologies of his practical and theoretical generalization.
50
Bhardwaj, Kumkum, and Bhagyashree Kulkarni. "DRESSES BY SYMBOLS OF FOLK ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 181–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3732.
Повний текст джерелаАнотація:
Folk Art English Folk word refers to a human group living in one place, and Folk Art is used to refer to the traditional art of that group, in Hindi the folk word is used for this. According to Hazari Prasad Dwivedi, the word Lok means not a district or a village, but an entire public spread in cities and villages whose practical knowledge is not the basis of books.
लोककला अंग्रेजी के फोक षब्द का अर्थ एक स्थान पर रहने वाले मानव समूह से है, और फोक आर्ट का अर्थ उस समूह की परम्परागत कला से लगाया जाता है हिन्दी में इसके हेतु लोक षब्द का प्रयोग होता है।डाॅ. हजारी प्रसाद द्विवेदी के मतानुसार लोक षब्द का अर्थ जनपद अथवा ग्राम नहीं है बल्कि नगरों और ग्रामों में फैली हुई वह समूची जनता है जिसके व्यवहारिक ज्ञान का आधार पोथियाँ नहीं है।