НАРОДНЫЙ ТАНЕЦ: ПРОБЛЕМА ОПРЕДЕЛЕНИЯ, ДЕМАРКАЦИИ И ИСТОРИЧЕСКОЙ ТРАНСФОРМАЦИИ

Abstract

Folk dance is an integral part of modern choreographic culture. At the same time, the definition of its place and role in modern artistic realities is complicated not only by understanding the boundaries of this phenomenon, but also by contradictory approaches to understanding its essence. Folk dance is also understood as folk dance, or vice versa, later layers of dance culture, not associated with ritual actions. Also, some researchers put forward the thesis that folk dance is only an area for – traditional culture, as well as the phenomena of everyday dance culture that are entrenched in the folk tradition. Quite often in modern choreographic culture, folk dance is likened to the concept of «folk stage dance» – a kind of specific model of folk dance culture, created and embodied in the conditions of the stage space. And this, as will be discussed in this article, is not legitimate. All these processes are not accidental. To a certain extent, they demonstrate the difficulties in the formation of the very phenomena related to folk dance: from traditional forms to stage versions of its representation. This article defines the boundaries of the definition of «folk dance», gives its periodization in accordance with the cultural and historical periods, and also highlights the main sources of its formation. Particular attention is paid to identifying the specific features of folk dance, among which the most vividly highlighted: ritual and ceremonial basis, syncretism, synthetism, special mentality, anonymity, heterofunctional character, imitativeness, improvisational character, tradition and rules of performance, the relationship with the musical and song basis, its collective representation. The article outlines a culturological approach to further understanding the phenomenon of «folk dance» in scientific discourse.