THE SPECIFICS OF THE ARTISTIC IMAGERY OF DANCING IN CHOREOGRAPHIC ART

Abstract

The folk stage dance within the framework of choreographic education stands out as one of the most crucial and foundational components of training, alongside classical, duet, historical, everyday, and modern dance disciplines. Beyond being solely an academic subject, folk stage dance embodies a living tradition of stage interpretations of dances from diverse cultures. This facet of choreographic art encompasses a myriad of artistic and pedagogical techniques, manners, and dance styles. Consequently, the cultivation of folk stage dance emerges as one of the most intricate and multifaceted tasks confronting aspiring performers and choreographers. The enduring beauty and cultural significance of this discipline render folk stage dance a perennial focal point in the realm of choreographic education in Kazakhstan. In the contemporary landscape of domestic education, the imperative to enhance the organizational and pedagogical conditions for teaching folk stage dance introduces new challenges to the educational sector. Given the nature of choreographic activity, artistry, and creativity in dance, maintaining professional consistency becomes paramount. The qualitative selection of students becomes indispensable, fostering the cultivation of a genuine vocation for choreography. Essential characteristics such as artistic skill, professionalism, expressiveness, and acting prowess have consistently been demanded from ballet dancers, constituting prerequisites that must be fully nurtured within choreographic schools. In optimal organizational and pedagogical environments, these qualities should be thoroughly developed. The specificity of choreographic imagery lies in the utilization of a system of expressive means, uniquely refracted in the plastic language of dance at every stage of cultural and historical development. Plasticity serves as the primary means of expression when crafting a choreographic image