Dance Ensemble Research Articles

Lithuanian Poles Values in the Poetic Texts of Dr. Gabriel Jan Mincewicz

The current paper presents an overview of the poetic texts of Gabriel Jan Mincewicz (1938–2016) (PhD in the field of humanities, branch of theology). Merits of Gabriel Jan Mincewicz as the director of the song and dance ensemble “Wileńszczyzna” are emphasized. The poetic works of G. J. Mincewicz were divided into several thematic groups, among them the cultural determinants of the Polish identity and the linguistic image of the homeland were analyzed. The works were discussed in the sacred, historical, social, and linguistic contexts. The article emphasizes as well the social impact that G. J. Mincewicz’s songs have on the society of Vilnius region.

РОЗВИТКУ СИЛОВИХ ЯКОСТЕЙ У ТАНЦЮРИСТІВ ЗАСОБАМИ ХОРЕОГРАФІЧНОЇ ПІДГОТОВКИ

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.

Evaluation of Selected Components of Standard of Living and Quality of life within a Polish Diaspora: the Example of the Greater Toronto Area

The main goal of the article is to describe selected components of standard of living and quality of life within the Polish diaspora of the Greater Toronto Area which includes four districts: Halton, Peel, York and Durham. An author-composed model of mutually affecting objective factors (standard of living) and subjective factors (quality of life) will be presented in the paper. Individual factors (demographic, social, cultural, economic, legal, educational, geographical, and health-related) included in the field research among respondents and based on assigned indices influencing the quality of life in the Polish diaspora of the Greater Toronto Area, will be presented. The evaluation of satisfaction with areas of life selected by the Canadian Polish diaspora will be discussed, as well as their evaluation of standard of living in the Greater Toronto Area, such as Polish schools, parishes, travel agencies, and non-governmental organisations (such as the Song and Dance Ensemble or scouting). Their evaluation of whether their needs were met and accessibility to selected components of the city will also be analysed. Data correlating the length of time respondents have lived in Toronto, and a general evaluation of the quality of life will be presented.

ДІЯЛЬНІСТЬ ПІДДУКЛЯНСЬКОГО АНСАМБЛЮ ПІСНІ Й ТАНЦЮ «PULS» (ПРЯШІВ) В КОНТЕКСТІ ЗБЕРЕЖЕННЯ ДУХОВНОЇ КУЛЬТУРИ РУСИНІВ ТА УКРАЇНЦІВ СХІДНОЇ СЛОВАЧЧИНИ

Мета роботи – розглянути історію становлення та мистецькі здобутки професійного ансамблю пісні й танцю «PULS» (Poddukelský umelecký ľudový súbor) (Пряшів, Словаччина) в контексті культурної ідентичності її представників. Методологія дослідження полягає у поєднанні методів пізнання, зумовлених вимогами об’єктивного аналізу історичних, мистецтвознавчих та культурологічних джерел, що відображають основні тенденції розвитку культурно-мистецького життя етнічного населення Пряшівщини другої половини ХХ – початку ХХІ ст. У дослідженні застосовано комплекс методів: описовий, теоретичний, інформаційний, спостереження, інтерв’ю та узагальнення. Наукова новизна. На основі висвітлення творчої біографії професійного мистецького колективу з м. Пряшів (Східна Словаччина) виявлено основні тенденції збереження елементів автентики, вторинного фольклору (фольклоризму), використання синтезу мистецтв (хореографічне, театральне, музичне, вокальне), а також процесу словакізації сучасної культури русинів-українців. З’ясовано, що танець учасників колективу втілюється в стилізованій або автентичній формі, виконуючи при цьому такі функції: 1) танець як поєднувальний елемент між сценами вистави; 2) поєднання різних народних танців у великі танцювальні епізоди як окремі картини вистави; 3) танець уплетений в основу вистави для створення історичної епохи, більш ефектного загальноемоційного враження або театралізації дійства. Висновки. Питома вага популяризації українського фольклору, що була в основі ідеології та репертуару колективу від початку створення, нині зменшується. Натомість увага ансамблю пісні й танцю «PULS» зосереджується переважно на обрядових традиціях русинів, словаків, а також пісенному й танцювальному фольклорі сусідніх країн. Творчість колективу – це органічне поєднання різноманітних жанрів (музично-ігрові, опереточні, естрадні вистави, іноді т. зв. гібридні жанри), синтез фольклору – акторського, музичного (вокального й інструментального) – та хореографічного мистецтва.

History of participation of students of Bukovinian State Medical University in the “Trembita” ensemble

The Folk Amateur Song and Dance Ensemble “Trembita” has been started in 1963 exclusively by the talented students of the Chernivtsi Medical Institute. In 1965 it was awarded the title “Amateur Folk Song and Dance Ensemble”. The team of ensemble have won many diplomas and certificates for active participation in music discourse of our region and many thanks for the development of amateur folk art in Bukovina. Participants of the “Trembita” song and dance ensemble study the best samples of folk art, get acquainted with the folklore diversity of our region. The golden fund of the ensemble are: the ceremonial composition “Feast of the Lumberjack”, vocal and choreographic performance “Carpathian Chants”, “On Ivan Kupala”, “Autumn Polonsky Movement”, as well as many magnificant Bukovinian songs and dances. The aim of the study is to analyze the motives of BSMU students' participation in the activities of the “Trembita” Folk Amateur Song and Dance Ensemble. Research methodology. The article uses descriptive, bibliographical and historical comparative methods. Conclusions. The analysis of scientific literature and some scientific researches and documentary data show the importance of participation of BSMU student youth in the folk amateur “Trembita” song and dance ensemble. The amateur activities of the student youth of the university contribute to the enhancement of “personal status”, the satisfaction of prestigious needs, that is to be more educated, intellectually developed, spiritually enriched person with an active “I-concept”. The involvement of medical students is essential in developing high moral and spiritual qualities of the individual required in the doctor’s profession

СТРУКТУРНО-ФУНКЦІОНАЛЬНІ АСПЕКТИ ХОРЕОГРАФІЧНОЇ КУЛЬТУРИ ЗАХІДНОГО ПОДІЛЛЯ

The folk choreographic culture of Western Podillya is a kind of chronicle of traditions, rituals and customs of the regional dance heritage, which is an integral part of the choreographic culture of Ukraine as a whole.Given the processes of globalization in the modern world, the regional perspective of scientific research becomes especially relevant. However, despite numerous scientific works that cover the development and functioning of amateur dance groups, Western Podillya wasn’t mentioned.According to the Ternopil Regional Methodical Center of Folk Art (TRMCFA), as of 2018, there were 200 choreographic groups (about four thousand participants) in the cultural institutions in Ternopil region, including 12 folk and 23 exemplary ensembles.Amateur choreographic art was also popularized among students in higher educational institutions of Western Podillya.The Promin folk dance ensemble of Ternopil State Pedagogical Institute (now Ternopil Volodymyr Hnatyuk National Pedagigical University) dates back to 1969, the title was conferred in 1977 (leader – Honored Culture Worker of Ukraine Vasyl Pochynok).Terebovlya Higher School of Culture (now Terebovlya College of Culture and Arts) is the only educational institution in Ternopil region for training specialists in the sphere of professional choreographic art development. The Dzherelo folk dance ensemble, guided by Honored Scholar of Education of Ukraine Halyna Aleksandrovych, and the Lyubystok. amateur folk dance ensemble of the Centre for Culture and Leisure of the Terebovlya City Council, which was founded in 1989 on the initiative of Honored Culture Worker of Ukraine Ihor Nykolyshyn, function there.The Yabluneviy tsvit folk dance ensemble of Chortkiv Humanitarian and Pedagogical College named after Oleksander Barvinskiy, guided by Honored Culture Workers of Ukraine – Nataliya and Volodymyr Hudovi – was founded in 1994, the title was conferred in 1996.The Neopalyma Kupyna National Theater of Folk Dance of Ternopil Higher Vocational School № 4 named after Mykhailo Parashchuk has been functioning since 2001 (leader – Honored Culture Worker of Ukraine Vasyl Pochynok).The Nadzbruchanka Academic Dance Ensemble, which was founded in 1959 according to the order of the Department of Culture in Ternopil region and on the initiative of the Regional House of Folk Art (now the Regional Philharmonic) for the purpose of promoting choreographic art among the population of Podillya, is the only professional dance ensemble in Western Podillya.Therefore, the study of the functioning of these dance ensembles is determined by ethnographic and historical value in the context of contemporary reproduction of real national identity. It is an effective factor in the artistic, aesthetic and national upbringing of children and young people.

КУЛЬТУРНИЙ ОБМІН МІЖ КАНАДОЮ І УКРАЇНСЬКОЮ РСР ЯК ІНСТРУМЕНТ РАДЯНСЬКОЇ ПРОПАГАНДИ

The aim of the research is to analyze peculiarities of cultural exchange between Canada and the Ukrainian SSR in the 1960s and 1980s, which took place during the Cold War. The research methodology is defined by an interdisciplinary approach (history, culture, foreign relations) and is based on general scientific and special scientific methods, first of all, retrospection and historical comparison. The scientific novelty of the research is that on the basis of archival materials determined the forms and content of cultural exchange between the Ukrainian SSR and Canada, in particular its propaganda content. The Conclusions. During the Cold War the cultural sphere became an arena of confrontation, and art (or what was meant by it) became part of ideological propaganda campaigns. Cultural exchange was seen by the Soviets as a way of representing «achievements of socialist culture» to Canadian Ukrainians and as an effective propaganda tool. Formally, on the Soviet side, cultural exchanges were carried out by specially created organizations, which, however, were managed and financed through the Central Committee of the Communist Party and the International Department of the Committee of State Security (KGB). The request to maintain cultural ties with the Ukrainian SSR in Canada was largely due to the desire of the Ukrainian community overseas to maintain spiritual ties with the Motherland. Different approaches to the interpretation of cult exchange – from approval to complete denial – have provoked a lively discussion in the diaspora. Adherents of cultural programs from the Ukrainian SSR were Canadian left-wing organizations, such as the Association of United Ukrainian Canadians. The League of Liberation of Ukraine was a categorical opponent of the cultural exchange, whose representatives saw in the artists from the USSR Soviet emissaries called to «destroy» the Ukrainian community in Canada. Organizations within the Ukrainian Canadian Committee (UCC) condemned cultural exchange as a one-sided tool of Soviet propaganda, but viewed cultural ties as a way to influence Soviet artists. Because of one-sided Soviet cultural infiltration, on several occasions the UCC voiced its protest against Canada’s cultural exchanges with this country. Ukrainian Canadian artists, choirs and dance ensembles are not permitted to perform in Ukraine unless they were politically acceptable to the Soviet authorities.

Вьетнам — Россия: диалог культур

The article provides information about the cultural connections of the Far-Eastern Region of Russia with the cultural activists of Vietnam, performances of dance ensembles, exchange of concert programs and organization of combined festivals. Separate attention is given to the selfl ess activities of reconstructing the traditional temple and the rituals of the recent representatives of the Le imperial family carried out by a representative of the dynasty Mrs. Le Thi Minh. Description is given of the historical facts and traditions of the culture of Vietnam, a characterization of the ritual costumes is presented, and information is given of the artistic work carried out by youth ensembles in Vladivostok in restoring Vietnam’s dance ritual culture with the assistance of Mrs. Le Thi Minh.

Documenting distinctive features of ‘Keku’ dance ensemble of the Jukun nation of the sub-Saharan Africa

This study seeks to provide evidences on the distinctive creative elements of the Jukun “keku” dance music among other indigenous music of the sub-Saharan African cultures. An examination of its cr...

НАРОДНА ХОРЕОГРАФІЧНА КУЛЬТУРА ЗАХІДНОГО ПОДІЛЛЯ: ПРОБЛЕМА РЕКОНСТРУКЦІЇ ТАНЦЮВАЛЬНОЇ ТРАДИЦІЇ

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.

Korean ethno-national artistic traditions in Ukraine (creativity of the Korean Dance Ensemble “Toradi”)

Aim of the article is to spotlight the problem of Korean ethno-national artistic Traditions preservation and development in the context of Korean ethnic group residence outside the ethnic homeland, in Ukraine. The methodology of the article consists of a set of basic research principles such as: the art analysis has been used for the “Toradi” Kyiv dance group creative activity characterization; the historical analysis has been used for the Korean art traditions comprehension; the descriptive analysis has been used for the sequence of events representation; logical and analytical analyses have been used for the Kyiv Korean music collective art and creative activities meaningful aspects detections an example of the cultural traditions and art preservation by the Korean ethnic community in Ukraine.Scientific novelty of the article. The Korean artistic traditions influence in Ukraine among the Korean ethnic community has been first traced.Conclusions. Features of traditional Korean national dance — an important achievement of world choreography — as a reflection of the Korean nation musical and choreographic art peculiarities, its historical development, traditional ideas about beauty, ethnic mentality, etc. have been analyzed. The “Toradi” Korean choreographic group creative work, its connection with the art of Korea, realized through the “Toradi” group visits to Seoul and the invitations of South Korean choreographers to Kyiv, which have significantly enriched and complemented the creative palette of the dance group and enlarged national colorings creative work of the dance group, have been examined. The deep connection between the ethno-national artistic traditions of Korea and the art of Korean ethnic group in Ukraine has been proven; the peculiarities of this phenomenon as the model of ethno-national artistic traditions preservation in the era of Ukrainian society democratization have been revealed.

Віртуозність в ансамблях народного танцю України радянської доби

The purpose of the article is to identify the main aspects of the development of virtuosity in folk dance ensembles of Ukraine of the Soviet era. Methodology . The historical method is applied for an objective consideration of the historical and political context; systematization of information about virtuoso movements in the dances of different choreographers; an art criticism analysis of folk stage dances was used to identify virtuosic choreographic vocabulary. Scientific novelty . For the first time, the virtuoso vocabulary of Ukrainian folk dance was analyzed in the activity of folk dance ensembles of Ukraine in Soviet times through a historical and cultural prism. Conclusions . In line with socialist realism, proclaimed the leading aesthetic and cultural landmark of the artistic sphere in the early 30s. XX century in the USSR, the creation of professional and amateur folk dance ensembles took place under the slogan of preserving national identity. At the same time, Ukrainian folk stage dance turned into one of the instruments of Soviet propaganda. The works of K. Baloh, K. Vasylenko, P. Virskyi, L. Kalinin, A. Kryvokhyzh, V. Petryk, Y. Chuperchuk and other choreographers in amateur and professional folk dance ensembles in Soviet times allow us to talk about highlighting the phenomenon of virtuosity in folk stage dance, which is a reflection of one of the leading trends in choreographic art – the complication of vocabulary of folk stage dance. In the context of the socialist realism art, the phenomenon of virtuosity was of a contradictory nature. On the one hand, there was a complexity of traditional and use of new virtuosic movements from the arsenal of classical ballet, interaction with sports testified to the development of virtuoso vocabulary of folk stage dance, enrichment of its expressive means, on the other, virtuosity in Soviet times is a substitute for the emasculated traditional content of folk dance.

Dancing For Ethnic Roots:

Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.

Влияние фестивалей и смотров народного творчества на развитие самодеятельного искусства в 60–70-е гг. XX в. (на примере северных районов Красноярского края)

The paper examines the process of the influence of all-union festivals, shows, folk art contests on the increase in the activity of amateur art groups. The purpose of the study is to identify the features of the formation of amateur art in the northern regions of the Krasnoyarsk Territory in the era of developed socialism. The author focuses on the history of the formation of folk groups working in various genres of amateur performances: folk theaters, propaganda teams, choirs, song and dance ensembles. The characteristic of the system of state and public leadership of amateur and cultural work based on archival documents is given. The results and consequences of the process under consideration for the sphere of amateur art in the region are determined. The conclusion is made about the increase in the quantitative composition of creative teams and the increase in the quality level of performing skills. The conditions for the development of amateur performance within the framework of cultural policy are established on the example of the northern regions of the territory.

“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation

“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation

ПЕДАГОГИ ТА НАТХНЕННИКИ ОСНОВОПОЛОЖНИКА УКРАЇНСЬКОЇ ЕСТРАДИ, ПОЕТА І КОМПОЗИТОРА ВОЛОДИМИРА ІВАСЮКА

The phenomenon of creativity of the poet and composer, Volodymyr Ivasyuk, is not fully disclosed yet. One of the reasons for this is that after the death of the artist in 1979, his name was spoken in whispers for a long time and the meaning of his work was keeping silent. However, songs of the composer broke the wall of silence and flooded the whole world.This article examines the influence of teachers, poets, composers, cultural and art figures, Ukrainian folk art, and the energy of the Ukrainian Carpathians on Volodymyr Ivasyuk, who is the founder of the Ukrainian variety.Highly educated parents of Volodymyr instilled his high moral qualities, love to all beautiful, and strong patriotism. A teacher of the Kitsman Music School Yuriy Vysnyuk included works of such composers as Beethoven, Mozart, Schubert, Tchaikovsky, and Lysenko to the Volodymyr’s repertoire. Yuriy Vysnyuk claims in his memoirs that Volodymyr Ivasyuk was in love with Ukrainian folk songs. The talent of V.Ivasyuk was polished in such artistic collectives of the Chernivtsi Medical Institute as the Song and Dance Ensemble “Trembita” (head Volodymyr Kryyak) and VIA “Carpathians” (directed by Valery Gromtsev). Volodymyr brought his songs “Chervona Ruta” and “Vodogray” exactly to Valery Gromtsev.The Ukrainian folk art was the inspiration for the talented artist. Volodymyr participated in folk expeditions of his father, recorded old songs and ballads, and was fond of the beauty of the Ukrainian Carpathians. Volodymyr was creating his various landscapes and portraits under the impression of the beauty of the Carpathians.1971 was the beginning of the creative collaboration with the future luminaries of the Ukrainian variety Sofiya Rotaru, Vasyl Zinkevich and Nazariy Yaremchuk. Professor Leszek Mazepa gave adequate knowledge and creative skills to Volodymyr during his studying at the Lviv National Academy of Arts named after M. Lysenko. Since 1972, V.Ivasyuk began his creative collaboration with Lviv poets Rostislav Bratuniu, Bohdan Stelmakh, Roman Kudlik, and Mykolay Petrenko. Rostislav Bratuniu once said the following words: “The phenomenon of Volodymyr Ivasyuk is that he intuitively formally has managed to create a peculiar code of contemporary Ukrainian songs”. V. Ivasyuk headed the Creative Youth Club in Lviv with a very wide range of activities, which stimulated him to popularize his works and gave birth to new songs.

Historical and cultural prerequisites for the creation of a state ensemble dance of Ukraine as a form of representation of national art of folk choreography

The purpose of the article is to trace the historical and cultural preconditions for the creation and functioning of one of the first state dance ensembles in Ukraine, which was supposed to not only collect and popularize folk dance but also represent it in a scenic version. Analyze the organizational and creative process in the early years of its existence and identify the role of choreographer P. Virsky in defining the course of the artistic team to preserve national cultural values, which is an inexhaustible treasury, which nourishes national choreographic art. The methodology of the research - to achieve the goal, the following methods were used: analytical and historical for the study of historical, cultural and cultural sources and literature, search-theoretical for the collection of materials confirming the author's conclusions of this article. Scientific Novelty. The results obtained are due to the goal, tasks and problems of the study related to the identification of cultural and historical prerequisites for the creation of the State Dance Ensemble of Ukraine as a form of representation of folk dances, which have greatly enriched national choreographic art. The article analyzes the early concert programs of the collective for the first time. Conclusions . After the recognition in the second half of the 30-ies in the country of professional groups, as the main form of representation of folk song dance art became a tangible tendency to create a network of professional dance groups in Ukraine. One of the first in 1937 was the State Dance Ensemble, headed by P. Virsky and M. Bolotov. This collective since the first years of its existence has become one of the best in Ukraine, contributing to the development of national ballet art.

“If you can breathe, you can dance”: Fine lines contemporary dance for mature bodies in Melbourne, Australia

ABSTRACT Older women ballet and contemporary dancers resist the pervasive stereotypes of the dancing body as young, graceful, and athletic. They embody and enact a generative habitus, resisting cultural socialization that would deny them voice, visibility, and validation. This study explores the understandings of a group of older women dancers who are members of the Fine Lines contemporary dance ensemble for mature bodies, Melbourne, Australia. The data for this phenomenological study were gathered in 2017 and employ Interpretative Phenomenological Analysis as an analytic strategy. Our findings are reported under three overarching themes: Dance as a Community, Older Women Dancing, and Learning: Choreography and Improvisation.

Long-term memory for contemporary dance is distributed and collaborative

Professional dancers appear to be the embodied records of works of choreography that have been created, rehearsed and performed. Their precision in recalling extended sequences of movement developed for these works defies the conventional methods used to investigate memory. A distributed cognition view holds that memory will not only be individualistic, but also extended across a dance ensemble. Working closely with the highly skilled dancers of Australian Dance Theatre (ADT), we set out to develop an ecologically valid method that elicited memory recall and lapsing. Dancers were divided into two “teams” with each team asked to choose excerpts for memory recall from the company's extensive repertoire that would challenge individual dancers in the other team. There were 14 trials; 12 involved the dancers recalling dance excerpts on their own (solo condition) and 2 with a partner (duet condition). In the ADT studio, seven dancers recalled (reproduced) as much of the excerpt as possible in the absence of an accompanying soundscape. Recall was extensive, but contained lapses, and these recall failures form the core of the analysis in this study. Four novel types of memory recall were identified: static shapes, isolated movements, partial and full movement sequences; and two strategies for recall: looking for movement by moving and collaborative sketching. Four types of errors were observed: errors of detail, order, omission, and additions. Analysis was conducted through a new method of counting ‘choreographic items’. The most detailed recall (73–96%) was for the two duet excerpts with significantly poorer recall of excerpts from complex group sections of a dance. Movement gist was generally retained. The types of recall and types of errors observed pointed to the use of not only procedural memory and chaining but also contextual cues as aids to movement recall. Collaborative elements of recall were observed that suggest the importance of distributed cognition and collective memory within a contemporary dance ensemble.

ARTISTIC AND PEDAGOGICAL HERITAGE OF KIM VASYLENKO AS A CULTURAL AND HISTORICAL PHENOMENON

The article attempts to generalize and supplement the notion of the phenomenon of the creative personality of the famous Ukrainian teacher-artist K. Vasylenko. Various aspects of his activity as a scientist, choreographer, teacher, researcher of dance art, organizer of cultural life in the country, founder of higher choreographic education in Ukraine are considered. His artistic and pedagogical ideas are systematized. The role played by K. Vaselenko in the processes of formation and development of Ukrainian folk-stage choreography has been established.The pedagogical experience of K. Vasylenko's activity in amateur dancing groups «Dnipro» and «Darnychanka» is analyzed. The didactic components of thecontent of the creative pedagogical process in the groups of amateur performances (political and mass work, educational and upbringing activities, stage work, concert activities, organizational and cultural-mass work, seminars of the creative group and public leaders of choreographers) are determined and grounded. The place of dance folklore in the system of education of dancers-amateurs has been established. The peculiarities of cooperation of the choreographer with the cultural-educational society«Ukraine», aimed at popularization of national culture in Ukraine and abroad, are revealed.The factors that determined the phenomenon of K. Vasylenko has been established: family upbringing; participation in amateur activities during schooling; cooperation with prominent Ukrainian figures of the 20th century; cultural and educational activities at the Dance and Honored Dance ensembles of the Ukrainian SSR «Dnipro» and «Darnychanka»; ethnographic research activity at the Institute of Art Studies, Folklore and Ethnography; scientific and pedagogical activity at Kiev State Institute of Culture; active cooperation with the cultural-educational society «Ukraine»; personal and professional self-improvement of the teacher throughout life.