Dance Ensemble Research Articles

Choreographic miniature is the basis of the repertoire of folk-stage dance ensembles

Choreographic miniature is the basis of the repertoire of folk-stage dance ensembles

MIRZAKHAN BASHIROV – THE HEAD OF THE FIRST PROFESSIONAL CHOREOGRAPHIC COLLECTIVE OF DAGESTAN

The article is dedicated to one of the first professional dancers of Dagestan, Mirzakhan Bashirov. It traces his creative path from a simple performer to the director of a leading professional team - the State Song and Dance Ensemble of the Peoples of Dagestan, representing the republic in the vast expanses of the USSR and abroad. The years of his leadership are the years of great achievements, the enormous popularity of the musical and choreographic collective of Dagestan.

The priority of the art of dancing on public holidays

In this article, the author has analyzed the celebration of national holidays, especially in relation to those that in the years of independence were attached to national traditions, and the role of dance in them. The influence of folk festivals on the improvement of the performing arts of folk dance ensembles was also studied.

Halyna Aleksandrovych in the choreographic culture of Ternopil region

The purpose of the article is to identify the role of Н. Aleksandrovych 's work in the choreographic culture of Ternopil region. Methodology. A set of methods was applied, including the analysis of the literature and source base, systematization of information, consideration of events on a chronological basis. Scientific novelty. For the first time, the creative activity of Halyna Stepanivna Aleksandrovych, a teacher-methodologist at the Terebovlya College of Culture and Arts, an excellent student of education in Ukraine, was comprehensively analyzed and her role in the choreographic culture of Ternopil region was clarified. Conclusions. Н. Alexandrovich is one of the leading specialists in the regional choreographic culture of Ternopil region, which for fifty years has been teaching, folklore, choreography, education and promotion. The basis of the repertoire of the folk dance ensemble "Dzherelo" created by her consists of works recorded by Н. Alexandrovich in the process of field research and skillfully processed for performance in the stage. In "Dzherelo" the teacher combines educational, upbringing and artistic functions: in addition to purely professional tasks (formation of a highly professional dancer and leader of the choreographic team) is the formation of students' choreographic worldview, the formation of national-patriotic values through joining, distinguished by the author's style, which are a significant contribution to the development of choreographic culture of the region and Ukraine as a whole.

The Virsky Ukrainian National Dance Company in the scope of the art research (between 2010–2020 years)

The purpose of the article has been to learn new historical, cultural and art sources have been posted between 2010–2020 years, related to the Virsky Ukrainian National Dance Company occupation that. The methodology includes the researching methods usage such as: overall historical, comparative-historical, dialectical, analytical, systemic, etc. The scientific novelty implies the novice in the researched historiographical sources made up between 2010–2020 years that have significantly boosted the scientific projection to learn the historical and art facts related to the Virsky Ukrainian National Dance Company occupation. Conclusions. The historical timeline between 2010–2020 years related to the Virsky Ukrainian National Dance Company art outcomes is presented by modern domestic researcher’s monographs and publications such as: T. Blagova, O. Burkovsky, N. Vadiasova, D. Vernygor, Y. Vernygor, E. Dosenko, M. Kurinna, V. Lytvynenko, E. Roy, R. Savchenko, N. Semenova, V. Chernets, V. Shulgina, V. Shumilova etc. Due to inquire the life and creative path the choreographers who have served for the USSR State Dance Ensemble (P. Virsky, M. Vantukh), the researchers analyzed the main phases to come up with their art approaches, determined to search the chiefs regarding to the extraordinary compositional consistency, observed the dynamic to develop the musical-choreographic drama by the Virsky Ukrainian National Dance Company modern dance performances etc.

Creativity of teachers-choreographers of the Terebovlyan Cultural Education School of Anatolii and Oleksandra Polishchuk

The purpose of the article is to identify the main aspects of the work of choreographers of the Terebovlya Cultural Education School Anatolii and Oleksandra Polishchuk. Methodology. The use of a set of general and special methods, such as analysis and synthesis, culturological approach, consideration of events in chronological order, art analysis to identify stylistic features of choreographic productions by A. Polishchuk, etc., contributed to the objective study. Scientific novelty. For the first time, a special study is devoted to the works of Anatolii and Oleksandra Polishchuk, their role in the development of the choreographic culture of the Ternopil region is clarified, stylistic features of A. Polishchuk’s choreographic performances are revealed. Conclusions. The powerful artistic impulse received by Anatolii and Oleksandra Polishchuk, future teachers of the Terebovlya Cultural Education School, at the O. E. Korniychuk Kyiv State Institute of Culture made it possible to reach the highest levels of artistic and pedagogical skill in the Ternopil region. They resumed the work of the dance ensemble at the school, created a folk dance ensemble "Chervona kalyna" in Ternopil. A. Polishchuk's choreography combined artistic rethinking of Nadzbruchany choreographic folklore, interpretation of dances that became symbols of Ukrainian folk choreography ("Kozachok", "Hopak", etc.) with author's choreographic compositions, the figurative structure of which is closely related to the rich folk culture, in particular, the symbolism of household items and psychoemotional characteristics as a sign of ethnic mentality ("Chervona kalyna", "Loburyaki").

Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War

The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.

Formation Of The Fundamental Principles Of Lev Venediktov's Creativity In The Performing Activities Of The Song And Dance Ensemble At The Kiev Military District

The little-studied period at the beginning of Lev Venediktov's creative activity in the Song and Dance Ensemble at the Kyiv Military District is considered. The scale of personality and creative work of an outstanding musician, brilliant choirmaster, conductor, teacher, artistic director of a well-known ensemble is studied. The ways of formation of professional skill of the artist, gradual formation of his individual creative method are analyzed. The influence of the Master’s personality on the professional growth of the team, education of a galaxy of talented youth, which is now the golden fund of Ukrainian culture — outstanding choirmasters, conductors, musicians, teachers, state awards, degrees, honorary titles. The peculiarities of the creative atmosphere, the moral climate in the team, the motivation of its participants to achieve significant artistic goals are described. The specific nature of the artistic director's activity during the preparation and conducting of the band's tours in Ukraine and abroad is revealed. The basic principles of the Master 's creative activity, which received their further development in the conditions of the Kyiv Opera House, are determined. His personnel policy, which was distinguished by a personal individual approach to the formation of the team is outlined. The specifics of Lev Venediktov's repertoire policy in the ensemble, its multi-vector approach with the presence of works of army patriotic, modern themes, Ukrainian folk songs, classical repertoire focused on the philharmonic, academic artistically prepared audience are established. It is proved that in the work on the repertoire the colossal erudition of the Master was shown, directed on application of synthesis of various means of stage expression in the context of theatricalization of concert programs. It is noted that Lev Venediktov's professional activity organically combined organizational-managerial, staging-demonstration, pedagogical-educational aspects of work with the team, which contributed to the creative growth and wide popularity of the ensemble in Ukraine and abroad.

Tautas deju definēšanas problemātika mūsdienās Latvijā

The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.

RETRACTED: Lithuanian National Costume in the 19th Century and in the 2nd Half of the 20th Century: Cultural Pollution and Remains of Authenticity

Lithuanian authors, authors abroad, and artists have presented Lithuanian folk clothes in their works. However, the oldest examples of these representations are not very reliable, because the authors painted them according to the descriptions of other people or copied works among each other. In the 20th century, the national costume of Lithuania changed considerably. Attention was not given to ethnographic regional peculiarities; instead, similar materials were chosen without any analysis. This article performs a comparative analysis of folk (the 19th century to the first half of the 20th century) and national (the second half of the 20th century) Lithuanian costumes to establish signs of cultural pollution and remaining authenticity. Over 500 articles of clothing with different purposes are collected from Lithuanian museums. Fabric parameters, such as raw materials, weaving technique, weave, pattern, decoration elements, etc., are established. The research results show that authentic folk clothes of the 19th century differ from the national costume of the second half of the 20th century in their cut, decoration, and patterns. No differences between ethnographic regions survived in the national costumes. Thus, at present, we must preserve our tangible heritage and re-create, as authentically as possible, national costume for folk songs and dance ensembles, folk restaurants, and rural tourism homesteads.

FOLKLORE, DANCE IN THE CONTEXT OF MODELING IDEOLOGICAL MESSAGES

Studying Macedonian culture, we can not help noticing the particular role of folklore ensembles in fostering traditional music and dances, with a view to cherishing the national characteristics. This process is directed by the highest political bodies, which have disseminated the idea in a few spheres. Firstly, by means of actualization of certain matrices in the national folk ensemble Tanec, which was the benchmark followed by amateur ensembles. On the other hand, state television and radio MRTV, started broadcasting performances of folk music ensembles and programs with specific contents, i.e. where folklore prevailed. Analyzing the situation with the folk dance ensemble Tanec, we can notice that its Statute, as well as its first director Mr Manuel Chuchkov (senior political official) emphasized application, promotion and actualization of folklore in the context of socio-ideological engagement. Several papers written by Chuchkov, consider the usage of folk dances by placing them in historical and ideological contents. Such are the examples of folk dances from this period, into which drama elements are imputed, giving the dances specific historical features and being supposed to encourage patriotic feelings. Folklore used to be used as a tool in the socialist period, but it is still being actualized, in Macedonia nowadays.

Synthesis of singing manners in practice of the professional folklore group (based on the repertoire of the Ivano-Frankivsk National Academic Song and Dance Ensemble “Hutsulia”)

Synthesis of singing manners in practice of the professional folklore group (based on the repertoire of the Ivano-Frankivsk National Academic Song and Dance Ensemble “Hutsulia”)

The Ghana Dance Ensemble in Perspective

With the aim of preserving traditional music and dance through contemporary, theatrical and creative presentation, the Ghana Dance Ensemble in 1962 was initiated as an experiment between Ghana’s educational and governmental systems. This paper is a historical account of the Ghana Dance Ensemble from the perspective of an ‘insider’ and historicity. The paper chronicles the evolution, successes, challenges and the role of the Ghana Dance Ensemble in Dance Education in Ghana. It also discusses the relationship that existed between the Ghana Theatre Movement and the Ghana Dance Ensemble in the realization of cultural consciousness in Ghana. The paper is more of a reflective study by someone who has been with the Ghana Dance Ensemble for over thirty years as a practitioner and a researcher. Key words: Ghana Dance Ensemble, Ghana Dance Company, University of Ghana, traditional dances, choreography. DOI: 10.7176/JCSD/63-05 Publication date: January 31 st 2021

Pedagogical Fundamentals of Methods of Teaching Choreographic Disciplines

The study of art disciplines has its specific features and, in some ways, differs from other educational subjects. Choreographic disciplines are closely related to pedagogy and psychology and form an integral part of the development of the future leader of the amateur choreographic team, teacher of choreographic disciplines, choreographer, dancer. The study explores the problem of development of didactic fundamentals at teaching choreographic disciplines by means of which not only skill of future teachers, but also performing skill of dancers develops. The purpose of this study is to investigate the influence of pedagogical foundations on the process of teaching choreographic disciplines and creative choreographic work on the development of adolescents. According to the results of the study, different approaches to the problem of becoming the future leader of an amateur choreographic group, a teacher of choreographic disciplines, a choreographer, an artist of a dance ensemble are described. The study covered the essence of pedagogical fundamentals of methods of teaching choreographic disciplines that motivate students to professional self-improvement; the study also argued the need for the development of internal motivation for professional growth in future teachers of choreography. Studying the influence of creative choreographic work on the development of adolescents' personality, the results of empirical research on the relevance of the needs of students of the Professional College of Culture and Arts (city of Kalush) in professional self-improvement, motives of professional self-improvement, and analysis of professional competence. The practical significance of this study lies in the research of the fundamentals of pedagogical methods of choreographic disciplines to further improve this process, as well as to improve the skills of teachers

Формування мистецької школи та традиції Павла Вірського у Державному ансамблі танцю УРСР

The purpose of the article is to reveal the peculiarities of the art school and traditions in the choreographer work of the State Dance Ensemble of the Ukrainian SSR Pavlo Virsky. Methodology. The deductive method is used in the article, in particular, the conceptual provisions according to the tradition of N. Shakhnazarova and S. Bezklubenko are extrapolated to the plane of P. Virsky’s work; historical, art history and typological principles are applied to identify the features of the tradition and school of P. Virsky. Scientific novelty. It has been proved that P. Virsky became the founder of the Author Art School and tradition in folk stage choreography. Conclusions. Pavlo Virsky formally, as the head of the State Dance Ensemble of the Ukrainian SSR, and informally (a wide circle of his choreographical and pedagogical principles’ supporters has existed for several decades) became the leader of the cultural and artistic sphere of Ukraine. The brightness of his individuality, the power of the creative gift, his innovative potential allowed to create a new style direction of choreographic art, determined the “face” of professional Ukrainian folk-stage dance for many years. The artist’s contemporaries – the followers of the traditions laid down by him master and develop his creative principles. Among the main peculiarities of P. Virsky School, there is academization of folk stage dance, organic combination of high-tech performance with acting and pantomime, use of symphonism as a compositional principle of choreography, use of scenographic and directorial means of theatrical aesthetics, etc. The traditions and principles of P. Virsky School are developing, ensuring the steady progress of Ukrainian folk-stage dance, nourishing the Ukrainian choreographic art as a whole.

Особливості функціонування танцювальної художньої самодіяльності в Тернопільській області радянського періоду

The purpose of the article is to identify the peculiarities of the functioning and the political and ideological context of dance amateur performances in the Ternopil region of the Soviet period. Methodology. The objectivity of the study was ensured by the use of analytical (analysis of literature and sources, including archival documents, facts), historical (presentation of material in chronological sequence), culturological (consideration of events through the prism of the socio-cultural situation) approaches. Scientific novelty. For the first time, attention is focused on the political and ideological context of the amateur performances’ development in the Ternopil region; new archival materials were introduced into scientific circulation. Conclusions. In the 50-80s of the twentieth century in the Ternopil region, as well as throughout the USSR, an extensive network of amateur dance groups was created, which can be regarded not only as a manifestation of moral upsurge after liberation from the Nazis but as a latent form of struggle to preserve national and cultural identity. The absence of a professional folk dance ensemble in the region until 1961 made it possible to stabilize the repertoire of amateur groups in close connection with folklore, without focusing on the achievements of professional art. The historical and political specificity of the Ternopil region manifested itself in the increased attention during the organization of foreign tours to the participants of dance groups, whose relatives were associated with waves of emigration from Western Ukrainian lands, as well as with the Organization of Ukrainian Nationalists. The main factors that determined the activities of amateur art groups were not only creative but also political and ideological as a sign of the system of a totalitarian society with command and control.

Terebovlian college of culture and arts - center of folk-stage Choreography of ternopil region

Purpose of Research is to identify the role of Terebovlia College of Culture and Arts in the development of folk and stage choreography of Ternopil region. Methodology. A set of methods was used, including analysis of the literary and source base, systematization of events on a chronological basis, analysis of the college through the prism of creativity of teachers, students, graduates. Scientific novelt. For the first time the activity of the choreographic department of Terebovlia College of Culture and Arts in the aspect of contribution to the development of folk-stage choreography was comprehensively analyzed; archival materials were introduced into scientific circulation, which clarify and supplement the available information on the activities of I. Nykolyshyn and the ensemble "Liubystok". Conclusions. The choreographic department of the Terebovlia College of Culture and Arts continues the traditions of folk and stage choreography established by the founders of the department. The key to a high level of student training was the constant desire of the teaching staff to improve their skills, education at the Kyiv State Institute of Culture O.E. Korniychuk, Rivne Institute of Culture, National Pedagogical University. MP Dragomanova. The model of educational work of the college provides not only purely training forms, but also powerful artistic and educational activities of teachers and students, which is manifested in staging and concert work. In the activities of student groups (Folk Dance Ensemble "Source" and Folk Dance Ensemble " Liubystok ") develops two areas of folk stage choreography – stylistically close to the original sources and academic. College graduates, thanks to concert and creative activities as part of student ensembles, acquire professional performing competencies in demand in the field of professional performing activities in Ukraine.

СТАНОВЛЕННЯ ПРОФЕСІЙНИХ АНСАМБЛІВ НАРОДНОГО ТАНЦЮ В СРСР: ХУДОЖНІ ТА СОЦІОКУЛЬТУРНІ ЧИННИКИ

The purpose of the article is to find out the main artistic and sociocultural factors that determined the formation of professional folk dance ensembles in the USSR. The research methodology is based on a combination of historical-cultural, formal-typological, comparative analysis, which made it possible to fully reveal the range of issues associated with the subject of the research. The scientific novelty consists in identifying the main artistic and sociocultural factors that led to the formation of professional folk dance ensembles in the USSR; clarification of the general and the difference in the principles of folklore dances adaptation by Y. Churko and K. Vasylenko. Conclusions. The article concludes that in the classification schemes of the principles of folklore dances adaptation by Y. Churko and K. Vasylenko, the first (minimal adaptation of the primary folklore source) and the third (the author’s work) principles coincide. Y. Churko states that the essential in the second principle is the connection with the folklore mainstay. K. Vasylenko places before arbitrary interpretation, enrichment with tricks, borrowing the styling of classical dance, a departure from folklore is allowed. The article found the cultural factors that determined the formation of professional folk dance ensembles in the USSR: the All-Union Folk Dance Festival in 1936 in Moscow; the success of the trykolinnyi (three-part) hopak in London in 1935; numerous shows and festivals of organised amateur performances and unorganised amateurs. Among the sociocultural ones is the article “The Ballet Falsity” (1936), which introduces the idea of the inorganic demonstration of folk dance on the ballet stage, emphasised the need to create independent forms of stage presentation of this kind of choreographic art; imposition of socialist realist principles, including “nationality”, “large-scale involvement”; replicating the formula of Soviet art “national in form, socialist in content,” which required the introduction of elements of national art in ideologically verified forms.

Classical exercise in folk dance ensemble: methodological principles and structure

The purpose of the article is to scientifically substantiate the applying classical exercise expediency in a folk dance ensemble. The methodology of research is based on methods of analysis, observation, and generalization. The role of choreographic ensembles in the spiritual and creative development of the younger generation is defined in the article. The authors highlight four approaches to choreographic education in Ukraine. The methodological principles are analyzed based on exertions in choreographic classes: 1) the beginning of the movement and its fixed completion; 2) the repeatability of the main elements of the task; 3) a limited number of different elements used in one task; 4) the dominance of the main element or performing technique within a single task; 5) the logical combination of movements depending on the learning objectives; 6) the mandatory performance of combinations using both legs; 7) the rational balance of physical (power), technical, mental and psychological elements. The main aspects of improving the ballet dancer`s professional skills and a student-choreographer (work on yourself, work on the repertoire, stage activity) are defined. Identified structural elements of the exercise, which are used in classes of classical and folk and stage dance. The main performing techniques of classical exercise, the purpose, and specificity of their application in the educational and professional activities of choreographers are analyzed. The scientific novelty of the work is that it scientifically substantiates the methodological principles and classical exercise`s content; defines its role in folk dance ensemble and student-choreographers` professional training. Conclusions have been formulated with emphasis that classical exercise is an effective means of forming the performing culture and dancers` professional ballet skills of the folk dance ensemble.

Зарубежная гастрольная деятельность ансамбля «Лезгинка» как один из факторов развития культурных связей СССР со странами Востока в 1960-е гг. (по материалам периодической печати)

The paper analyzes an extensive tour activity of the state academic dance ensemble of Dagestan «Lezghinka» across Eastern countries in the context of cultural relations development. Based on archivial sources and materials of the periodical press, the authors emphasize that in the 1960s the ensemble became a tru representative of people’s diplomacy, carrier and popularizer of multinational culture of the country. The role of «Lezghinka» in the promotion of the folk choreographic art, general humanitarian values during each tour is noted. The usage of fundamental multi-factor approach has allowed us to draw the conclusion that the ensemble having become a representative not only of Dagestan but also of the whole country plays an important role in smoothing military and ethnic conflicts, clearly indicating its position, carrying the banner of peace, friendship and solidarity between people.