Choreographic Education Research Articles

Interdisciplinary Links in the System of Choreographic Education of Students of Creative Universities: From Theory to Practice

The article attempts to trace the importance of interdisciplinary link in the disciplines of the professional block of the educational program for training choreographers at the University. The goal is to develop an interdisciplinary educational model for obtaining knowledge, skills and abilities on the example of folk stage dance for further implementation in the content component of the educational program for training choreographers at the University. The significance of the developed model lies in the fact that its application in the system of choreographic training of students will allow to form a professional level of knowledge of a specialist who possesses professional competencies provided for by the educational program.

МЕТОДЫ ПОВЫШЕНИЯ МОТИВАЦИИ К ЗАНЯТИЯМ ХОРЕОГРАФИЕЙ У СТУДЕНТОВ ВУЗОВ КУЛЬТУРЫ

This article touches upon the problem of motivation for the activities of students-choreographers of universities of culture and art, without which the most effective pedagogical methods and technologies do not bring the desired result. The problem is relevant for the system of higher choreographic education. The paper considers the methods of stimulating motivation for activity, which, in the author's opinion, bring the greatest benefit in the formation of motivation for choreographic activity. The revealed methods are tested during the ascertaining and forming experiment in the system of higher education of choreographers. The author gives statistical data of the changes that have taken place with the motivation of choreographer students to work, after the introduction of a set of selected methods for stimulating motivation. Analysis of the data shows that during the experiment the number of students with a positive motive for activity in the second and third year of the Samara State Institute of Culture increased significantly and the number of students with a negative motive for activity decreased (from 53% to 0%) and (from 66% to 0 %). For first-year students, the changes are not statically significant, due to the fact that a positive motive for activity was observed among choreographer students in the first year of study and amounted to (89%). This led to the conclusion that the primary task of a teacher of a modern university will be to promote the emergence of positive motives for activity, before introducing new methods and technologies for teaching students.

PRE-PROFESSIONAL CHOREOGRAPHIC TRAINING IN THE STRUCTURE OF PRIMARY SPECIALIZED ART EDUCATIONAL INSTITUTIONS: HISTORICAL AND PEDAGOGICAL ASPECT

The article reveals the peculiarities of the development of choreographic education in Ukraine in primary specialized art educational institutions (PSAEI) in the historical-pedagogical discourse, analyzes the organization, structure, content component of choreographic training of student youth in the specified types of institutions. In the process of holistic consideration of the outlined problem, the methods of system-structural, pedagogical and retrospective analysis, as well as the method of theoretical generalization, were used. Based on the study of a wide range of archival sources, it was found that in terms of their structure, target guidelines, organization of the educational process, art schools had signs of binary nature, combining the characteristics of an extracurricular institution and a professional education institution. The general concept of the development of children's art schools was written down in statutory regulations, where it was noted that the educational process is carried out on the basis of a personal-oriented approach to students, ensuring artistic and creative activity and a personal-value attitude to varieties of art. At various stages of formation and development, children's art schools united common functional characteristics such as early professional orientation of pupils, creation of a favorable educational environment for the upbringing of a creative personality with a special type of education, aimed at continuing artistic training in pre-higher and higher education institutions.
 The educational significance of the phenomenon of children's dance creativity in art schools as a component of pre-professional choreographic education is clarified. It was observed that in the out-of-school structure, primary art education institutions were an effective form of organizing pre-professional choreographic training. By combining general education and professionally oriented choreographic training, they had a great potential for forming dance performing abilities in systemic and multifaceted choreographic work. We define the early professionalization of education and the correlation of narrowly professional and general choreographic training as progressive trends in the development of pre-professional choreographic education in the studied types of schools. In addition to the realization of the tasks of self-realization and general cultural development of pupils, choreographic training provided them with prospects for further specialized training.

FORMS OF ORGANIZATION OF THE PRE-PROFESSIONAL CHOREOGRAPHIC TRAINING IN UKRAINE IN THE 20S OF THE XX CENTURY

The article reveals the peculiarities of the development of choreographic education in Ukraine in pre-professional forms of organization in the 20s of the XX century. In the aspect of socio-political and cultural determinants, the organizational and pedagogical foundations of choreographic training of the younger generation in the structure of general and out-of-school education are analyzed. The educational value of the phenomenon of pre-professional dance creativity is clarified. It has been observed that during the study period children's dance amateurism was formed in the educational, cultural and artistic spheres in institutions of various functional purposes: in general education institutions, dance vocational schools, art studios, children's and youth clubs. The dissemination of elementary choreographic knowledge also took place in various mass forms of aesthetic and educational leisure: concerts, literary and musical matinees, evenings, and mass folk festivals.Based on the analysis of the educational sector's reporting documentation of the time, it was found that official support for school and out-of-school amateur children's choreography was centralized, regulated by norms and methods, and subordinated to the ideological narratives of the society of the time. Physical education bias dominated the arrangement of the content of school motor training. The priority direction of leisure time choreographic activities of schoolchildren in institutions of mass culture is the attraction to newly created mass dance forms of Soviet origin, lexically simple and accessible for assimilation. The main principles of mass children's choreographic performance were the availability of dance vocabulary, a combination of elementary natural movements, jumps, running, simplicity and artistry of musical accompaniment.It is proved that in the period under study, the formation of the content of pre-professional choreographic training of children and students involved the correlation of ideological and educational tasks. Mass choreographic forms were interpreted primarily as an effective component of the overall system of class education. At the same time, it was noted that the quality level of children's amateur choreography in the system of cultural and mass work remained generally low, despite its popularity in society. The need to improve pre-professional dance creativity in various forms of organization remained relevant.

Сhoreographic Education Online: Pros and Cons

The purpose of the article is to analyse the latest findings regarding the advantages and prospects of online education with a projection on choreographic education. The research methodology is based on the use of a number of methods and approaches integrated from pedagogy, art history, social communications, and computer science. The use of general scientific methods of analysis, synthesis and generalisation enabled to better understanding of the main directions of modern research on online education and its advantages. The scientific novelty of the study consists in substantiating the possibilities of online choreography learning, in particular with the use of digital technologies. Conclusions. Choreographic education does not often lend itself to technological innovations and is characterised by traditional individual or frontal group classes. However, the potential of new technologies to improve student achievement and learning – if used appropriately – has long been recognised. Information technology makes learning effective, attractive, inspiring, motivating, increases productivity and helps to consolidate and retain knowledge. That is, the usual learning space simply needs to be expanded with the help of digital technologies to create authentic and exciting learning projects even for the usual classes of choreographic students, especially when it comes to online learning, when digital didactics can take advantage of both physical natural interaction and immersion into a virtual environment. The use of virtual reality, computer games in synergy with traditional teaching methods can improve learning in terms of active listening, attention, and time, showing great potential in the educational field. Besides, in the conditions when the use of online education is necessary, one of the important factors for improving art education, in particular choreographic, can be focus on the common interests, needs, intentions of teachers and art critics. These comprise mutual support, exchange of ideas in virtual communities, transparency, equal access to developments, peer review, and collaborative work in online educational communities.
 Key words: online learning, choreographic education, blended learning, teaching, digital technologies.

Scientific Reflection on the State of the Problem of the Academic Culture Development Among Applicants for Higher Music-Pedagogical and Choreographic Education (early XXI century)

Adherence to the principles of academic culture is one of the main values of the corporate cultural environment of the university community of any HEI. Today, the implementation of each of the numerous functions of education - pedagogical, developmental, didactic and methodological, socio-pedagogical, value-oriented, as well as the function of professional and personal self-improvement - requires a lot from the educator. Namely, knowledge and consideration of ethno-cultural peculiarities of students, reasonable and expedient selection of content, methods and techniques of teaching and upbringing on this basis, the ability to productive dialogue and fruitful cooperation with the family of students and the community - all this can be the subject of intercultural competence education. At the same time, scientific developments in this field require practical confirmation of certain aspects of developing academic cultural trends, as well as identifying the most promising directions for the successful formation of a virtuous academic environment. The aim of the article is to clarify the key directions and trends of scientific developments in the field of development of academic culture of applicants for higher music, pedagogical and choreographic education. Based on the analysis of the survey results, it is advisable to study the point of view of specialists on this issue on certain practical aspects of scientific reflection of this problem. Methodology. During this study, the analytical and bibliographic method has been used to study the scientific literature on the academic culture of applicants for higher music, pedagogical and choreographic education, analysis, synthesis, induction, deduction in the processing of scientific information, as well as theoretical methods (systemic-structural, comparative, logical-linguistic, abstraction, idealization) and an online survey to study some practical aspects of the problem. Results. According to the results of the study, the peculiarities of the scientific developments on the topic of the research have been studied. Moreover, the major trends in the development of academic culture of applicants for higher music, pedagogical and choreographic education have been identified. In addition, the data on the peculiarities of the current state and prospects for the development of a successful formation of a virtuous academic environment in the above-mentioned sphere, supported by the results of the survey, have been established.

ҚАЗАҚСТАН ХОРЕОГРАФИЯ МЕКТЕПТЕРІНІҢ БІЛІМ БЕРУ ПРОЦЕСІНДЕГІ ЕРЕКШЕЛІКТЕРІ

The article discusses some differences in the educational process of the Almaty Choreographic School named after A.V. Seleznev and the Kazakh National Academy of Choreography in the capital, which today provides choreographic education in Kazakhstan. At the same time, it was emphasized that stage experience plays an important role in the preparation of a ballet dancer. Today, due to the high requirements for theater artists, the level of training of school graduates should also be high. In this regard, the efforts of the pedagogical community are developing pedagogical methods by introducing new directions of choreography while preserving the advanced traditions of a unique educational institution. The article tells about the international festival "Orleu", which has been held by the Almaty Choreographic School named after A.V. Seleznev for about 20 years and about the festival at the international level "Temps Lie", which has been held by the Kazakh National Academy of Choreography since 2018. Through these festivals, ballet dancers of the younger generation receive a ticket to the big stage. Characteristics of the school by analyzing the example of one movement.

Trends in the Development of Higher Choreographic Education in the PRC in the Conditions of Globalization

The issues of organizing higher education are relevant all over the world, which is fully faced with the challenges of organizing distance learning and the extreme need for classroom work in the training of certain specialties, which led to the popularization of the blended learning format. This was a challenge for the higher choreographic education of the People's Republic of China (PRC). The article reveals the influence of modern rapidly developing media technologies, creating favorable conditions for the implementation of innovations and progress in choreographic art, on higher choreographic education in the PRC. Among the trends in the development of higher choreographic education, there is an increase in demand for choreographic education among the population of the country and the training of future specialists in choreographic art; organization of blended learning for future choreographers (lectures, practical classes, organization of assessment, practice, independent and extracurricular work); the use of digital services and tools in the process of professional training of future choreography teachers; preservation of cultural values of state choreographic traditions. The purpose of the article is to characterize the development trends of higher choreographic education in the People's Republic of China in the context of globalization. To achieve the purpose, the following research methods were used: theoretical and systemic. Results. In the work, the authors analyzed the influence of the development of the Internet on the organization of choreographic education in the PRC, which contributes to the development of databases and cooperation between educational institutions, fruitful communication through the organization of videoconferencing, and the integration of information and communication technologies into the learning process. The Internet provides a wide promotion of information technologies in choreographic education; active use of cloud technologies and mobile Internet; creating a networked, digital, intelligent, personalized and safe environment for education and teaching choreography. Conclusions. The positive factors of the use of Internet resources in choreographic education are revealed: expanding the content of education; development of creative and divergent thinking among applicants for education; improving the effectiveness of training; creation, preservation and distribution of video recordings; the emergence of an open platform for the exchange of information; motivation of educational and cognitive activity of future choreographers; development of independence, lack of restrictions in temporary space.

Investigation of scientific results of practical and theoretical works of phd students of choreographic programs in the area of humanities integration

Integration of humanitarian knowledge into the training of sportsmen and dancers is very urgent today. We considered the domestic and international experience in this issue and revealed the insufficient spreading of humanitarian disciplines in the sphere in question. This topic is not examined well and this defines the purpose of its investigation – to study the results of research activity of PhD students of choreographic programs in the area of humanities integration. The problem of combining choreographic programs with training in the area of humanities is considered in this article. A special attention is paid to investigations and scientific-methodological elaborations of PhD students and leading practicing teachers in the field of spreading the program of studying humanitarian disciplines. The multi-vectorness of choreographic education, which can be considered as a metadisciplinary area is analyzed in the article, consequently, the teaching technique can be flexible. The main investigation methods were as follows: comparative analysis, dialectic materialism, analogies and synthesis of the collected information. The following characteristic features were revealed as a result of actualizing knowledge in humanitarian disciplines: the growing interest of the graduates in the mastered profession, extended outlook spectrum, accumulated additional pedagogical skills. The results can be used in training specialists in choreography.

Systemic interaction between educators of choreographic disciplines under distance learning conditions

Distance learning is an essential component of modern choreographic education under quarantine restrictions. It puts new tasks in front of the academic teaching staff, administrators, managers, and other educational process participants; it demands new rules of interaction. The aim of this study was to identify the main problems and difficulties encountered in choreographic education under distance learning conditions, as well as to present a set of teaching activities intended to alleviate rejection and anxiety about the changes in teaching by all educational process participants. The article highlights several activities to find ways to enhance interaction between teachers and accompanists. We used a comprehensive approach to methodology: descriptive method, analysis, and synthesis to consider the theoretical foundations, statistical methods (qualitative and quantitative), the method of questioning, as well as the method of a pedagogical experiment - collection, description and analysis of the practical results of behavioral research. Choreographic education needs close interaction between all participants in the educational process under distance learning conditions. The latter relieves stress and improves the attitude to the work of the choreographer within the conditions changed due to quarantine restrictions. This interaction is facilitated by using the possibilities of digital space and the virtualization of the educational process. Further research should consider successful forms and methods of teaching choreography under distance learning conditions and look for effective ways of improving the interaction between all participants in the educational process.

ҰЙҒЫР ХАЛЫҚ БИ ӨНЕРІНІҢ ДАМУЫНДАҒЫ ГУЛЬНАРА САИТОВАНЫҢ ШЫҒАРМАШЫЛЫҚ РОЛІ

The article examines the creative and pedagogical path of G. Saitova, who studies the dance art of Kazakhstan, including the dance culture of the Uighur people. Having received choreographic education at the Republican Studio of Variety and Circus Art (now the College named after Zh. Yelebekov), since 1971, the performing and choreographer path has been held at the State Academic Uighur Theater named after K. Kozhamyarov.In Kazakhstan, she is recognized as a scientist who plays an important role in the study of choreographic art, including the dance culture of the Uighur backgammon.

Continuity of the choreographic tradition of the Mariinsky Theatre and the Vaganova Academy of Russian Ballet

This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also examines the term "continuity" in an educational perspective, explaining the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process. This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also considers the term "continuity" in an educational perspective, with an explanation of the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process.

CONTINUITY AS A LEADING TREND IN THE DEVELOPMENT OF CHOREOGRAPHIC EDUCATION IN UKRAINE

The article describes the reveals signs of its continuity as a leading trend of development, actualizes the strategic directions of modernization of choreographic education in Ukraine and ways to overcome the crisis phenomena of its development at different educational levels.

ПАНДЕМИЯ КАК КАТАЛИЗАТОР DIGITAL ПРОЦЕССОВ В ИСКУССТВЕ

This scientific article analyzes the question of how technological progress affects art in general, and choreography in particular. Based on the material of the scientific discussion that took shape within the framework of the Round Table "Modern trends in the development of choreographic education", held in 2021 as part of the II International Festival of Professional Choreographic Educational Institutions "Temps lié", the author shows the birth of a new understanding of digitalization in the art of choreography

Танцевальная культура тамбовского провинциального дворянства конца XIX – начала XX века

The purpose of the study is to consider the dance culture of the provincial nobility of the Tambov province of the late 19th – early 20th centuries. From the standpoint of a culturological approach, the evolution of ballroom culture in Russia as a socio-cultural phenomenon based on the relationship of family, public education and upbringing of young people of the Russian provincial nobility is analyzed. The curricula and programs of educational institutions of the Tambov prov-ince are analyzed: the Noble School Building, the Government Men’s Gymnasium, the Pitiri-movskaya Gymnasium, as well as private educational institutions: the Ptashnik Gymnasium, the Music School, the Catherine Teachers’ Institute, the Alexandria Institute of Noble Maidens, the Diocesan Women’s School and others. The importance of the main characteristics of the dance evening and its functional significance for Russian society is determined. The role of educational institutions of the Tambov province in the choreographic training and education of the provincial nobility is established. Public, merchant, and private balls are characterized. The changes of bal-lroom dance determined by socio-cultural processes in Russian culture and education are consi-dered. The conclusion is made about the need to revive the dance ballroom culture and fill it with regional peculiarities, its own character and content, traditions, rituals, beliefs. The role of dance culture in the preservation of aesthetic values in modern society is determined.

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.

LES KURBAS ARTISTIC AND PEDAGOGICAL SCHOOL IN THE DEVELOPMENT OF CHOREOGRAPHIC EDUCATION IN UKRAINE

The article substantiates the relevance of the artistic and pedagogical heritage of the outstanding Ukrainian director of the XX century, a theater teacher, a thinker, and a founder of the national modern theater Les Kurbas, and his influence on the development of choreographic education in Ukraine. His stage-creative and pedagogical contribution to an actor’s plastic culture formation is analyzed. It has been found that the master’s achievements are formed into a coherent pedagogical system and a separate paradigmatic direction of theater education. The significance of the ‘Berezil theater school’ phenomenon in the formation of concepts of national choreographic pedagogy is studied. The complex of innovative artistic and aesthetic principles of work with future stage art performers, introduced by L. Kurbas, is characterized.
 It is proved that Berezil art and pedagogical system created by L. Kurbas, in general, caused innovative changes in the choreographic training of actors and directors in the first third of the XX century. It significantly adjusted the training content, defined strategic guidelines in the formation of theoretical and practical principles of professional choreographic education. Firstly, in determining the essential features of the updated model of actor training, the status of dance as an integral part of acquiring the basics of professional skill was significantly strengthened. The formation of choreographic training content in theater universities was influenced by the choreographic and pedagogical ‘Berezil’ achievements in the areas of expanding the content of the course ‘Stage Movement,’ active implementation of the principle of unity of theoretical training with practical study of ‘Fundamentals of Acting.’ Secondly, the large-scale educational work of the Berezil association had primarily a pedagogical meaning, played a significant role in educating a wide range of amateur actors, coordinating the activities of its branches. The heads of Berezil’s peripheral studios synthesized innovative creative ideas in the field of choreographic education along with the theatrical vertical, involving working and rural youth in their understanding. 
 The study summarizes the leading trends of the master’s educational activities in the field of actor and director professional training by means of expressive stage movement. Among the promising key principles of the concept of choreographic education of actors and directors, formed by L. Kurbas, the deep ideological orientation, cultivation of new aesthetics of stage movement, integration of production and educational objectives, practice-oriented content, emphasis on self-improvement are singled out.

Educating activity of Oleksandr Kolosok in Kyiv National University of Culture and Arts

The purpose of the article is to cover the teaching activities of Oleksandr Kolosok at the Kyiv National University of Culture and Arts and to reveal its influence on the formation and development of higher choreographic education in Ukraine. Methodology. To achieve this goal, general scientific methods of theoretical and empirical levels are used: analysis and generalization of scientific and theoretical bases of research, chronological method, interview method. Conclusions on the peculiarities of the pedagogical activity of O. P. Kolosоk are made on the basis of the analysis of the revealed complex of sources: pedagogical, methodical and creative achievements of the artist, own experience of communication with him, memories of colleagues and students. Scientific Novelty. The article covers for the first time the teaching activity of O. Kolosоk at the Department of Choreography (later the Department of Folk Choreography) at the Kyiv National University of Culture and Arts; the teacher's work on the creation of the professional discipline "Ukrainian folk-stage dance" and the peculiarities of teaching the discipline "Art of the choreographer" are analyzed; materials of interviews with the teacher and his students and colleagues were put into scientific circulation. Conclusions. The teaching activity of Professor O. P. Kolosоk was aimed at the development of folk dance traditions in a harmonious and logical combination with the expressive means of academic choreographic art and the best achievements of the modern world performing culture. Thanks to his efforts, the discipline "Ukrainian folk-stage dance" was introduced into the system of training choreographers in the higher school of Ukraine, and today the teaching of choreographic art in higher education institutions is based on the methodological developments of folk dance theorists and practice O. Kolosоk. His work with students on mastering the art of choreography was multifaceted, and choreographer-director thinking reached deep sources of folk dance. Oleksandr Kolosok's many years of pedagogical activity were fruitful, and today many choreographers and choreographers, whom he nurtured, owe him their high professional level.

Art education and its importance in the formation of creative personality

The article examines significant changes that occur in the field of education and lead to significant changes in the system of educational work with artistic and aesthetic education of young students, in particular through art education. The way of formation of the attitude of pedagogical collectives of general educational and out-of-school educational institutions to the process of formation of the personality connected with the multi-colored creative development of pupils is described.
 The importance of art in art and aesthetic education of studying youth is actualized, based on the example of the experimental research in the Center of art and choreographic education «Barvinok».

Ballroom dance in the education system: past and present

The purpose of the article is to reveal the features of ballroom choreographic education in the dynamics of historical development and to characterize promising directions for optimizing the educational process in the context of the professional training of the future choreographer. Methodology. The method of theoretical analysis was applied, which contributed to the study of published scientific sources devoted to the problems of professional choreographic education and related problems in accordance with the topic of the article; the method of systems analysis to identify the goal, task, content, volume and rational methods of teaching ballroom choreography, as well as assess the effectiveness of training industry specialists; methodological analysis of the leading pedagogical directions of teaching ballroom dance in the education system, etc. Scientific novelty. The dynamics of the development of ballroom choreographic education in a historical retrospective is investigated and its features are revealed in the context of the artistic culture of the 20th century; analyzed the theoretical and practical foundations of teaching ballroom dance in the context of transformational processes of pedagogical practice; considered the problems of promoting ballroom choreographic education in the development of art, aesthetic and cultural education in Ukraine; the criteria used for an objective academic assessment of ballroom choreographic education in professional educational institutions of Ukraine at the present stage are considered; identified and characterized promising ways of further development of ballroom dance as a performing art and a separate academic discipline. Conclusions. Socio-cultural changes and transformations in the system of training ballroom choreography specialists require optimization of the educational process, in particular in the following aspects: orientation to practical requests; complication and expansion of the structure of professional training of coaches, teachers, and ballet masters of ballroom dance; democratization of the system of choreographic education; integration and adaptation of leading methods of European education; strengthening of structural social and functional interaction within the framework of the system of choreographic education. The study has shown that the development of ballroom dance in Ukraine at the present stage requires the creation and provision of an appropriate level of a specific professionally-oriented education system, the basis of which would be the integrated use of the best traditional and innovative technologies in the field of pedagogy of choreographic art, developed by Ukrainian and foreign theorists and practitioners of dance education. as a backbone element of training specialists.