Choreographic Art Research Articles

ТЕОРЕТИКО-МЕТОДОЛОГІЧНІ ПІДХОДИ ДО ФОРМУВАННЯ ХОРЕОГРАФІЧНИХ УМІНЬ І НАВИЧОК УЧНІВ МОЛОДШОГО ШКІЛЬНОГО ВІКУ

In the article the author analyzes the synthesis of multicultural, polyartistic and participatory approaches, determines the multilevel theoretical and methodological basis for the development of choreographic skills in junior high school students. At the new stage of development of the socio-economic sphere, culture and education, special attention is paid to the issues of artistic and creative development of the younger generation. There is a growing need in society for highly intelligent creative individuals who are able to solve emerging difficulties on their own, 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 the individual is laid, there is an orientation to the development of spirituality, self-realization, self-expression and formed worldviews needed 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 choreographic art is due to the synthesizing nature of choreography, which combines music, rhythmics, fine arts, theater and plastic arts. In this regard, there is a need to move to a qualitatively new, innovative development of all branches of culture, including choreography, as one of the important and important aspects of forming a multicultural, comprehensively developed personality is education through dance. The multicultural approach provides the creation of a multicultural environment that educates and shapes the personality, involves children in the process of learning about culture through dialogue, cooperation and self-realization of the essential forces and abilities of the individual in his cultural identification. Polyartistic approach to the development of choreographic skills in junior high school involves the accumulation of artistic knowledge in the process of active communication between participants in the educational process, active participation in which provide such personality traits of the future specialist as spiritual uplift and creative imagination. Participatory approach provides organizational integration and identification of value orientations of future professionals.

Features of choreography teacher activities in COVID-19 pandemic conditions and distance learning

The aim of the study in highlight the practical experience of organizing distance learning of choreographers at the Kyiv Municipal Ukrainian Academy of Dance named after Serge Lifar. Practical Significance lies in using the research results in the educational process in teaching disciplines of the choreographic cycle “Theory and methods of working with the choreographic team”, “History of choreographic art”, “Theory and methods of teaching choreographic disciplines at higher educational institutions” for students of the educational program “Choreography" at the Kyiv Municipal Ukrainian Academy of Dance named after Serge Lifar. The approbation of modern forms of organizing distance learning and its daily analysis in conditions dictated by real events makes it possible to state that it is convenient to work with students-choreographers in practical classes using video communication in the mobile applications Viber, Messenger on Facebook and Instagram, as well as in the mode of video conferences in the Zoom program.

Formation of Art Design Skills (Crossover Point) in the Process of University Education

Abstract Introduction: The actualization of crossover point design activities in modern artistic practice is due to the growing mass demand for entertainment. The musical and theater project involves the introduction of new technologies. Creation of synthesized art “crossover-projects” requires the efforts of a group of managers and performers, taking into account the demands of the art market, their complex perception by a wide audience, and non-traditional approaches to staging classical works, taking into account the peculiarities of the location. Purpose: The purpose of the paper is to characterize art “crossover-projects” in the context of present culture and to reveal the method of preparation of future specialists to art design during getting university education. The article analyzes the methodology of training future specialists for art design in the process of their university education. The need for such an approach is due to the fact that the functioning of artistic culture in public practice is carried out in accordance with the laws of business, in which the commercial component is of decisive importance. Modern art projects have a high cost, as they involve the support and participation of creative individuals and groups. Results: The growing demand for modern cultural projects containing a creative search, creative component has made it necessary to introduce the corresponding disciplines into the KNUKiM (Kyiv National University of Culture and Arts) curriculum for master students of creative specialties (audiovisual art and production, theatrical art, musical art, choreographic art), as well as design protection of graduation work in the form of a master’s creative project. The formation of a creative project within the framework of a master’s program is an important element of the formation of skills of the theorist and the practice of artistic culture in their harmonious combination. Discussion: The phenomenon of design activity - “crossover point” and its distribution in modern artistic practice are characterized. Their polyfunctionalism, “manufacturability” and focus on mass character induce to creative methods that are not burdened with the experience of the past. Indicative in this respect is the design activity of Filevskaya - art manager, sponsor of many projects dedicated to Ukrainian avant-garde art, founder of the public organization “Malevich Institute”. Her work fits into the concept of “crossover projects”. Conclusion: Preparation for art design within the framework of university education provides for the necessary lines of intersection of various art branches, specialties and specializations, encouraging students to create a synthetic artistic product at the intersection of various types of arts and aesthetic and artistic traditions, since the “purity” of art is no longer a criterion for creativity and professional success.

ПЕРСПЕКТИВИ РОЗВИТКУ СУЧАСНИХ БАЛЬНИХ ТАНЦІВ

Today, modern ballroom dance is the priority direction of the development of modern choreographic art, in contrast to folk and pop art. Nowadays, despite the existence of a sufficiently large number of different directions of modern, folk, pop choreography, ballroom dance is becoming not only more and more popular, but also a dynamically developing direction. Therefore, special attention from the point of view of both historical and theoretical-methodical research of ballroom dance requires substantiation of its features and prerequisites for further development, both as a sport and as a choreographic art. The article examines the conditions for the formation of ballroom dancing, its main features, and determines the prospects for the further development of this type of choreographic art. Dance provides an opportunity for physical, aesthetic, spiritual development and education of both children and youth, as well as adults. Learning the best motor skills and skills in the training process is associated with the mobilization and active development of many physiological functions of the human body: blood circulation, breathing, neuromuscular activity, etc. Thanks to the fast rhythm, complex and varied technique, ballroom dancing helps a person to feel self-confidence, prevents the appearance of complexes, trains endurance, the vestibular apparatus, the respiratory system and the heart. In recent years, a new type of leisure activity in the field of ballroom dancing has been actively developing in Ukraine - dancing in the Pro-Am (Professional - amateur) format. Pro-Am is a direction in ballroom dancing where one participant is a professional teacher and the other is an amateur student. In addition to numerous trainings in the dance hall and demonstration performances, such a couple has the opportunity to participate in dance tournaments and festivals. Pro-Am competitions are held both as part of sports ballroom dance tournaments and as independent events. The Pro-Am system is a unique dance training system. An individual approach to each student makes it possible not only to teach him to dance technically correctly, but also to reveal individual capabilities. Everyone who studies has the opportunity to choose the direction that he likes the most and to study in the mode that suits him best, thus, the effectiveness of classes increases.

Термин-ассоциация-образ в русском и польском языке на примере хореографического искусства

There is an opinion found across the scientific literature that the term is something consciously regulated by a person, but as practice shows, this is not always the case. A choreographic terminological system may serve as a vivid example of this phenomenon. The present study focuses on choreographic terms in Russian and Polish aiming to conduct a comparative analysis with the subsequent identification of common and distinctive features of manifestation of the influence of associative-creative thinking on the terminological system. The collected terms were divided into three conditional groups: the first group included terms and concepts common to the Russian language with the same Slavic base, the terms that are unique only to a present language made into the second, while the third group contained terms that exist in Russian, but are absent in Polish. As the present study shows, choreographic art and its terminological system are inextricably linked, and since the secret meaning is hidden in its terms, what kind of associations will be found behind them, will determine the actual art of dance. At the same time, the author points out that the lack of clear terms for certain movements entails a low level of choreographic mastery.

Patriotic education of the youth by means of folk choreographic art

Patriotic education of the youth by means of folk choreographic art

Балет «Хетаг» и формирование национальной традиции осетинского балетного искусства

The first Ossetian ballet Khetag by D. S. Khakhanov was staged by the teacher and soloist of the Bolshoi Theatre, A. G. Zakalinsky in 1979. Careful analysis enabled the author to evaluate the nature of the synthetic approach that helped to combine the principles of national music and classical dance technique. The reconstruction of the first production of Khetag is based on interviews with participants of the first performance, which was present for only two seasons (1979/1980 and 1980/1981), and reveals the main characteristics of the Ossetian ballet theatre. This theater pays special attention to the role and significance of national dance, which determines the regional specificity of choreographic and musical components. New facts and detailshave made it possible to reconstruct the history of the first professional Ossetian ballet Khetag in the context of heroic-romantic ballets withthe national theme,which is based on the folklore of the North Caucasian region and reflects the national culture. The history of the Khetag ballet is closely linked to the history of the North Ossetia musical theatre’s ballet troupe. The education of national dancers in North Ossetia, Kabardino-Balkaria and Dagestan is placed in a joined historical and cultural context. This allowsone to make the conclusion that in the Caucasian region, national choreographic art dominates the ballet theatre’s stage because it manifests the most important features of national mentality and cultural identity.

“Online” Choreography Versus “Real” Choreography

With the installation of the COVID19 pandemic in our lives, already for a year, dance, an art mostly viewed live, on different stages and in theaters, has moved its activity online. It tried to adapt to the new requirements, managing to survive in these conditions. Most of the theaters started to post often on social networks, hoping that through this increased activity, they would still keep their audience. The purpose of this writing is to pre-sent the advantages and disadvantages of passing choreographic performances in the online environment. Was this compelling to stop the physical meeting a barrier from all points of view, or did it also bring positive parts in the choreographic field? Has it increased or restricted the imagination? What will happen to choreographic art in the next period? In the future, will the audience want to watch live choreographic performances or will they prefer the online environment?

VASYL PIPASH’ BIOGRAPHICAL AND CREATIVE PATH

The article systematizes collected data on Vasyl Onufriyovych Pipash, a prominent figure in the field of choreography in Ukraine from the mid-20th to the early 21St century. It explores his contributions as an artist, choreographer, educator in higher education, member of the music society, and artiStic director of choreographic ensembles. The focus goes beyond professional activities to encompass his role in preserving and developing Ukrainian choreographic traditions. The research aims to present the biography and creative path of Vasyl Pipash, a notable figure in Ukrainian choreography from the mid-20th to the early 21St century. The methodology involves analyzing collected data, archival materials, and conducting interviews with various sources, including family, colleagues, friends, and Students of V. Pipash. The scientific novelty lies in the syStematic presentation of various aspects of V. Pipash’s creativity, including his role in different choreographic groups, contributions to the development of national choreographic art, and his key representation in the field. Based on collected data and family archives, the biography and creative path of Vasyl Onufriyovych Pipash are examined, highlighting his roles as an artiSt, rehearsal director of the Merited Academic Transcarpathian Folk Choir, ballet master of the National Ensemble of Song and Dance “Hutsulia”, assiStant at the Department of Conducting and Singing at Vasyl Stefanyk Precarpathian University, member of the National All-Ukrainian Music Society, and artiStic director of the Folk Ensemble of Song and Dance “Cheremosh” at Lviv National University named after Ivan Franko. Vasyl Pipash’s significant contributions include his impact on the development of national choreography and active involvement in preserving and popularizing traditional Ukrainian dance forms. As an artiSt and ballet maSter, he not only passed on his talent and skill to the participation in the National All-Ukrainian Music Society underscores his significance as an expert in various cultural spheres. His contribution to the work of the Folk Ensemble of Song and Dance “Cheremosh” was defined not only by talent but also by great energy rooted in a deep understanding and love for Ukrainian folk culture

Естетичне виховання молодших школярів засобами хореографії

The article highlights the role of esthetic education for personality formations of junior schoolchildren.. One of the leading means of aesthetic education is the art of dance. For centuries, one of the universal means of aesthetic education has been and remains the art of dance, which represents a holistic picture of the world in the system of views, thoughts, feelings, emotions and their images. In the course of civilizational transformations, the aesthetic and educational status of folk choreography changed, which was determined by its role and place in the system of statehood, education and culture. From ancient times until the end of the XIX century in the cultural life of society choreographic activity was considered from different aspects. The article focuses on the formation of the teacher’s esthetic culture. Qualitative assessments, the ability to feel the world values, the ability to recognize the external manifestations of students’ emotional life turn the sensory act of reflection into an esthetic act of object’s or phenomenon’s understanding in the reality context. The article points out that the teacher’s esthetic assessment is the comparison of object’s or phenomenon’s esthetic qualities with their esthetic ideals in order to further using these concepts, ideas and statements for various types of esthetic activities. The process of formation of teachers’ esthetic statements, tastes, ideals can be formed by intellectual self-education. The field of aesthetic culture of the teacher includes knowledge of aesthetics, nature, work, life and human relations, the basics of methods of aesthetic education and upbringing. The content of the basics of art training of teachers is knowledge of musicology, literature, choreography, as well as folklore and language culture. It should be noted that the basis of practical and constructive field of aesthetic activity of the teacher is the embodiment in the educational process acquired during the spiritual and contemplative activities of aesthetic experiences, emotions and feelings, on the one hand, and aesthetic concepts, judgments, ideas, ideals – on the other. Constructive aesthetic activity of a teacher is the creation of an aesthetic environment for the education of students, ie the use of existing and creation of new aesthetic, educating opportunities for natural, artistic, educational and industrial work of children and youth, their communication and life, as well as artistic and aesthetic activities of teachers. and extracurricular activities with students. Teachers’ and family’s aspects and roles are considered in the sphere of choreographic art.

MOLIÈRE’S COMÉDIE-BALLET “LES FÂCHEUX” AS THE BEGINNING OF A NEW MUSICAL AND THEATRICAL GENRE

Against the background of contemporary artists’ interest in the cultural heritage of past ages, today we can observe an experimental combination of works by Lully, Rameau, baroque music of Henry Purcell, who was Molière’s contemporary, with elements of modern choreography (P. Bausch, T. Brown, M. Morris, L. Scozzi, D. Hervieu, B. Massin and others). Such productions by leading choreographers of the XX–XXI centuries actualize a certain reassessment of the artistic consequences of the “Sun King” era. Present scientific research purpose is to refute the theory of “temporality” of the existence of the comédie-ballet genre as well as the lack of prospects for using the principles of this genre outside the cultural boundaries of the Louis XIV age. After all, even such a well-known modern expert of this historical epoch as Philippe Beaussant is skeptical about the possibility of further successful development of this genre. Probably because apart from Moliere, none of the modern authors at the court of Louis XIV had either a certain flair or relevant experience (Beaussant, 2002: 148). Present scientific paper relevance lies in the fact that in Ukrainianlanguage scientific literature the issue of the significance of comédiesballets in the evolution of the world dramatic and choreographic arts is considered from the modern point of view for the first time. Along with the methods of analysis, comparison, generalization and systematization of information presented in the world scientific literature on Moliere’s work, historical and biographical approaches were used in the research process. The results of the research confirm the thesis of the leading theater critics of the Soviet era, O. Gvozdev (2008: 180), that the opera and dance elements of ‘ballet de cour’ are noticeably transformed in Molière’s comédies-ballets, and, what’s most important, they are dramatized under the influence of comedy story-line. It is summarized that “Les Fâcheux” continues the line of development of French ‘ballet de cour’, but the combination of its components in the artistic integrity on the basis of comedic plot has become a new original phenomenon. The desire to add logic to the ballet action led to the fact that in the circumstances of comedic action, the dance developed in the plot direction, often turning into a pantomime, involving an element of acting. In turn, under the influence of buffoonery and dance element, the tempo of the play becomes more revived, there is a rhythm and a certain “musicalization” of theatrical action, paving the way for the reform of French ballet, which was later carried out by Noverr under the direct influence of Beaumarchais and Gluck.

Modern Dance as an American Alternative to Classical Ballet

The choreographic art of the United States developed in a new direction and was looking for new forms corresponding to the trends of the modern era in many ways. By the beginning of the 20th century, the classical ballet of the USA rooted in Russian choreographic culture had experienced the lack of the means of expression that could reflect a new range of themes, images, philosophical and artistic concepts that had developed by that time and required a new dance style, genres, aesthetics. Modern dance emerged along with the development of the national political and artistic and creative self-consciousness of Americans in general, during the development of national musical, choreographic, and poetic traditions by cultural figures, who searched for their path in art. The study analyses the features of American modern dance. The artistic and aesthetic principles of modern dance are identified and the historical and cultural prerequisites for the development of the national choreographic school of the United States are revealed. The study uses theoretical methods such as visual and textual analysis of choreographic performances and music for performances, comparison of means of plastic expression, movements and figures of classical ballet and modern dance, principles of stage development of artistic images of performances. The empirical study is based on the generalisation of the practical experience of staging performances by leading American dancers of the 20th century. As a result, it is noted that the features of modern dance are completely different to those of the United States classical ballet, testifying to the desire of Americans to reflect the problems of modernity and convey the unique national character of the United States culture by using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet but reflect the spirit of modernity. The materials of the study are of theoretical and practical value for specialists who work with the problems of culture and art of the 20th century, including modern choreography.

Kyiv Theatre of Classic Ballet: historical and artistic aspects (1981-1998)

The purpose of the article is to learn the pattern of the artistic activities of the troupe "Theatre of Classic Ballet" in the context of the historical development of Ukrainian choreographic art of 1980th and 1990th. The methodology of the work contains using such research methods as general-historical, comparative-historical, analytical, etc. The scientific novelty of the publication lies in the exploration of the work of the troupe of "Theatre of Classic Ballet" its historical and artistic aspects for the first time in history. Conclusions. The activity of the artistic group has been connected with the work of famous Ukrainian ballet masters of the second half of the 20th century, such as V. Vronsky (1981-1986), V. Rybiy (1986-1988), and V. Kovtun (1989-1998). V. Vronsky has formed the principal cast of the troupe, create a basic repertoire, which included masterpieces of the world and Ukrainian classics. Also, the team has been popularized because of the cooperation with the leading theatres of the USSR. V. Rybiy has extended the concert programs of theatre with the help of the works of Soviet and European ballet masters. He has gained an ability to show those works in any theatrical conditions, using a minimum of stage designs. However, V. Kovtun has introduced in the repertoire big choreographic forms and, in order to implement them - he has expanded the troupe to 45 people. He has also invited famous Kyiv performers to take part in the program and has developed abilities for young artists to enter the troupe.
 Keywords: Theatre of Classic Ballet, V. Vronsky, V. Rybiy, V. Kovtun, choreographic art.

Principles of choreographic education in primary art institutions

The purpose of the article is to determine the basic principles of choreographic education in primary art institutions. Methodology. The methods of analysis and synthesis are used in the work. Based on the analysis of classes with different age groups of children on the basis of the choreographic department of Kaluga Children's Music School of Ivano-Frankivsk region identified the basic principles of choreographic education, which contribute to the improvement and development of children's performance, creative thinking, discipline and aesthetic taste to dance. The method of synthesis allowed us to determine the main criteria for teaching choreography for preschoolers. The scientific novelty of the work is that for the first time the basic principles of education and choreography lessons were comprehensively studied. The paper analyzes the trends in the development of choreographic education in primary art institutions; the concept of "children's choreography" is defined as one of the bases of formation of dancing abilities and "foundation" for further development of children in the direction of choreographic art;. It is investigated that the newest information technologies in the field of choreographic art allow: to strengthen the efficiency of knowledge of children; create a positive impression in choreography lessons; provide high educational diversity; increase success; to improve performing skills; rationally organize educational indicators; increase academic achievement. Conclusions. The author concludes that the use of the latest methods and techniques of teaching choreography will lead to high success, increase performance, which will determine in the future the path of children to further professional choreographic education.
 Keywords: children's creativity, dance, performing skills, didactic requirements, teaching methods.

The concept of "Contemporary Dance": cultural, philosophical, and artistic approaches

The purpose of the article is to analyze and systematize approaches to the definition of the concept of "contemporary dance". Methodology. The research methodology is based on the analysis of scientific sources related to the topic, approaches to the interpretation of the concept of "Contemporary Dance", using terminological and historical methods. Scientific novelty. For the first time, the main approaches to the definition of contemporary dance are revealed and its characteristic features are revealed. Conclusions. Contemporary dance has taken a prominent place among the directions of choreographic art, has a wide circle of admirers, is recognized as a stage phenomenon and cultural and artistic practice. Currently, there is a wide range of approaches to understanding contemporary dance, which leads to terminological differences in scientific works. Among the main positions in contemporary dance, one can single out its consideration as an avant-garde form of choreographic art that evolved from modern dance; as a dramatic virtuoso dance originating from ballet and jazz; as an intellectual dance that originated in Europe and America, based on various techniques and techniques, it is perceived as a tool for the development of the dancer's body. We adhere to the position that contemporary dance is a direction of choreographic art that arose in the late XX – early XXI centuries in Europe and America, based on techniques and techniques that act as tools for the development of the body, the formation of awareness and the individual choreographic language of the dancer.
 Keywords: contemporary dance, contemporary culture, choreography, contemporary dance, terminological approach.

Images of Ukrainian demonology in folk stage choreography

The purpose of the article is to find out the characteristic features of the use of the images of Ukrainian demonology in the folk-stage choreography of Ukraine. The methodology consists in the application of general scientific methods of theoretical and empirical levels: analysis and generalization of scientific and theoretical bases of research, comparative and logical methods, interview method; also art analysis of choreographic numbers of amateur and professional groups of Ukraine. These methods make it possible to characterize the most common images of Ukrainian demonology and to determine the peculiarities of their use and embodiment in folk-stage choreography. Scientific novelty. For the first time, the article, based on the analysis of choreographic works from the repertoires of amateur and professional groups, highlights the characteristic features of the use of images of Ukrainian demonology in folk-stage dance art. Conclusions. Demonological beliefs of Ukrainians are a kind of synthesis of mythological and religious ideas of the human about the universe and at the same time the embodiment of zest for life and democracy. Demon spirits are endowed with anthropomorphic features, i.e. they usually have a human likeness, and this presupposes the possibility of their use in folk-stage dance art. Choreographers create choreographic works based on their own plot, based on folk beliefs, rituals, and legends, as well as on the motives of literary works, the main characters of which are demonological characters. A stylized folk-stage dance with elements of acrobatics is often used to convey all the versatility and mysticism of mythological images. The use of images of Ukrainian demonology in folk-stage choreography contributes to the popularization of folk choreographic art, as well as increases the interest of modern society in national traditions. Keywords: folk-stage dance; Ukrainian demonology, folk choreographic art.

The history of the development of ballroom choreography in the Republic of South Africa

The purpose of the article is to analyze trends in the development of ballroom choreography in the Republic of South Africa. Research methodology is an organic set of basic principles of research: objectivity, historicism, multifactorial, systematicity, complexity, development, and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical- analytical. Scientific Novelty. An attempt was made to research the topical issues of the history of the development of ballroom choreography in the Republic of South Africa. Conclusions. The versatility of the choreoplastic language of ballroom dance leads to the fact that even in those regions where ballroom choreography was historically regarded as the art of outsiders (conquerors and colonizers), which contradicts local artistic and aesthetic traditions, ballroom dancing becomes a part of the local dance culture. In addition, it is the ballroom choreography that is the very integrative element that connects local cultures that are quite far from Western thinking with the global worldview system. International cooperation between amateur dancers and professionals is promising in terms of cultural interaction and exchange of experience in the field of choreographic art. In general, the analysis of the African experience allows us to conclude that after passing through the stage of a kind of "nationalization" and adaptation by local ethics and aesthetics, ballroom choreography organically merges into the system of organizing leisure time, scenic screen art, and sports. To date, from the point of view of the development of ballroom choreography for Africa, only the overcoming of economic difficulties remains relevant. In the context of government support, ballroom choreography functions as an important resource for recovery, education, socialization of the population; it is able to fit into the national system of education, leisure, culture, and sports in the vast majority of African countries. Keywords: ballroom choreography, ballroom dance, competition dance.

Arts choreographical arts as means of integration of student to European space

The article considers the issue of the integration of student youth into the European space. The purpose of the article. The choreographic art is actualized at the present stage of cultural creation. Assimilation of art and its integration into the European space is an important guarantee of the development and interaction of human civilization. The research methodology is based on the synthesis of general scientific methods and cultural-historical approaches. Therefore, the study, assimilation, protection from distortion, multiplication, and transmission to the next generation, therefore, the integration of the main achievements of art is an honorable and responsible matter. Interacting with modern requirements and needs of society, the art of dance affects social relations, economic system, political, ethnic, and national relations. Art makes adjustments to the spiritual composition of society, serves as a prerequisite for the stabilization of all aspects of social life, and thus provides the appropriate balance of historical and cultural formation. The scientific novelty of the research is in an attempt to trace 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. The growing interest of young people in the art of dance gives rise to a natural desire to maximize the reserves of plastic body language, demonstrating the interest of their own artistic worldview and acquired competencies in the educational space. Conclusions. 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 competencies. Key words: choreography, art, integration, student youth, Eurospace.

Pedagogy of choreography: teaching features and principles

The article reveals the basic principles of training, which preserve the continuity of traditions and the specifics of the profession in the training of specialists in the field of choreographic art. The authors analyze the peculiarities of teaching in the field of choreographic art, develop its concepts and principles based on the experience of teaching and performing practice in the training of specialists-mentors, teachers-choreographers of children's dance groups. On the basis of scientific works in the field of general pedagogy and pedagogy of choreographic art, the authors have developed modern principles of teaching and presented the results of the study for consideration. The recognition of the choreographic art of Kazakhstan at the world level is the result of the high creative potential of choreographers, the performance skills of dancers and the invaluable work of domestic choreographers. In the conditions of intensive development of the innovative, technological and integration process, the special specifics of choreographic pedagogy, the main functions and professional activities of choreographers require scientific and creative research and competent differentiation.

Educational Potential of Folk-Stage Dance in Educational Institutions of the People's Republic of China

The article is devoted to the educational potential of folk dance stage adaptation in educational institutions of the People's Republic of China. The purpose of the article is to identify and analyze the educational potential of folk-stage dance in educational institutions of the People's Republic of China. In the article, on the basis of theoretical (study, analysis and generalization of pedagogical literature for comparing and contrasting different views on the selected problem, consideration of theoretical issues in order to determine the basic concepts) and systemic (abstraction and concretization for mentally highlighting a certain property or feature of the subject of research with the aim of more deep study of it and the provision of the subject of concrete expression) research methods the educational potential of folk dance stage adaptation in educational institutions of the People's Republic of China (PRC) was identified and analyzed. The results. Teaching choreographic art in the PRC involves the implementation of students' own potentials in folk art and communication, the formation of needs for positive self-realization. In this regard, the author presents four stages of educating the student’s personality in folk-stage dance classes in educational institutions of the PRC: the formation of schoolchildren value orientation in the process of their awareness of the goals of folk stage dance adaptation (during choreography classes, namely artistic and stage dance, children values are formed reflecting the value attitude to themselves, to the country in which they live and to other nationalities and states, to labor, history and traditions); the assimilation of social experience, knowledge, values of universal and national culture through folk-stage dancing classes (Chinese folk-stage dances are valued all over the world because of the exemplary imitation of national traditions and experience, which makes them identical with authentic, folklore and folk dances); the formation of individual’s views, beliefs, attitudes to the norms, rules of behavior in the process of preparing and performing folk dance stage adaptation (the traditions laid down in the folk stage dances of the PRC presuppose strict adherence to the norms and rules of behavior that form young dancers’ feelings like respect, honor, devotion, which are traditional for Chinese people); the stimulation of students to self-improvement by means of folk-stage dance (through folk-stage dances, the individual’s self-knowledge of both its physical endurance and moral stamina is realized contributing to constant self-improvement). The authors concluded that folk-stage dance is bright, expressive and attractive event that arouses the interest of people of all ages, and due to its deep philosophical content it is considered to be effective means of educating students.