Traditional Rituals Research Articles

TRADISI GHATIB BEGHANYUT SEBUAH PERADABAN ISLAM PADA MASYARAKAT SIAK SRI INDRAPURA, RIAU

This paper is the result of research that aims to reveal the ghatib beghanyut tradition carried out by the people of Siak Sri Indrapura as the implementation of Islamic civilization. Siak Sri Indrapura as a Malay 'palace country' has a religious cultural heritage from the Siak Kingdom, which is still practiced today. The implementation of ghatib beghanyut is led by the ulama and is carried out jointly between the community and the leadership. This paper is an exploratory field research to get data about ghatib beranyut while this type of research is descriptive qualitative. The data collection technique was through observation, interviews and documentation, after which a content analysis was carried out. The results of the study found that ghatib beghanyut is a ritual tradition carried out by the people of Siak Sri Indrapura to reject the calamities that befell the community and the village. Rejecting reinforcements is done by means of remembrance and prayer on a boat while drifting without being rowed to follow the flow of the river by involving the community and state leaders. Dhikr and prayers are guided by local clerics. Ghatib beghanyut is the pronunciation of the Siak Sri Indrapura community which comes from the word 'ratib berhanyut'. The ghatib beghanyut tradition can be said to be the implementation of Islamic civilization which has fused with the people of Siak Sri Indrapura as a Malay country. Malay identical to Islam is a statement that is inherent and formed in its religious traditions and culture so that it becomes an important part in the development of sharia tourism promotion in Siak Regency where the implementation of this tradition involves umara, ulama and the community. The procession is full of remembrance and prayer to Allah SWT so that the people of Siak Sri Indrapura are always in a religious nuance that builds Islamic cultural behavior including always praying, believing in Allah's grace, trying to avoid disease, and strengthening brotherhood and unity.

Makna Ritual Tolak Bala Ghatib Beghanyut bagi Masyarakat di Kelurahan Kampung Dalam Kabupaten Siak Provinsi Riau

The rapid development of modernization has an impact on the erosion of the values ??of the ritual of rejecting bala ghatib beghanyut as a Malay cultural tradition so that it needs to be preserved through deeper study and meaning. The aim of the research is to analyze the meaning and function of the ritual of rejecting bala ghatib beghanyut for the community in Kampung Dalam Village, Siak Regency. The research method uses descriptive qualitative with data collection through enotography and interviews. The research results show the symbolic meaning of the ghatib beghanyut ritual as an identity and tradition passed down from generations to ancestors as well as a means of implementing Islamic values ??and avoiding danger. The function of the ghatib beghanyut banishment ritual tradition is as a religious function, social function, economic function, and as a medium for treatment in society.

The Dynamics of Elderly Family Interaction in Krajan, Glawan Village, Pabelan Subdistrict, Central Java, Indonesia

Krajan subvillage is one of the areas within Glawan Village, Pabelan Subdistrict, Semarang Regency. It has a population of elderly individuals aged over 75, totaling more than 5 people. Some of these elderly individuals live alone, while others reside with their children or grandchildren. The elderly engage in various forms of interaction, such as walking to their children or grandchildren's homes. Some have their offspring visit and assist with tasks like washing clothes and sweeping the floor, occurring at least twice a week for those living alone. In this digital age, the elderly also use phones for communication and interaction with their children and grandchildren. The dynamics of social interaction take place both offline and online through phone calls, not just via messaging apps. The elderly have developed habits of interacting with their families and continue to engage with the community in various activities like communal work, traditional rituals, mourning ceremonies, weddings, births, and more.

Examining Undergarment Preferences During Confinement Period towards Designing Caesarean Undergarment Design for Plus-Size Patients

A purposive sampling method on experienced Malaysian plus-size patients with a BMI of 30 to 40 and aged between 20 to 49 years old was conducted to investigate the preferences of undergarment design used during the confinement period and the influencing factors of clothing comfort throughout the recovery period. Results show that although 89.29% of respondents practised traditional confinement rituals, 93% of respondents preferred basic undergarments as opposed to compression garments due to the existence of an apron belly. Based on the result, a theoretical framework for plus-size caesarean undergarment design was developed.

Traditional postpartum rituals among immigrant and non-immigrant Chinese women.

Due to cultural and systemic factors, Chinese-Canadians tend to use mental health services less or when mental health problems are more severe. Services need to be more culturally responsive in their treatment of mental illness. Around important life events, when there may be heightened vulnerability to mental illness, this is especially important. In this study, postpartum cultural practices were examined among recent immigrant, longer-term immigrant, and Canadian-born Chinese women. We conducted a longitudinal cohort study of 493 women in Toronto, Ontario, with livebirths in 2011-2014. Participants completed a demographic survey and Postpartum Rituals Questionnaire. Most women (82.2%) practiced at least one postpartum ritual. Younger age (OR 0.93; 95% CI 0.87-0.99) and greater participation in the heritage culture (OR 1.28; 95% CI 1.02-1.61) were associated with ritual practice. From among five types of postpartum rituals identified (i.e., avoidance of homeostatic disturbances, dietary practices, wind avoidance, organized support, and cold avoidance), dietary practices were most commonly undertaken and cold avoidance was least commonly undertaken. There were differences in postpartum ritual patterns by immigration status, with immigrant women being more likely to undertake a greater number of rituals, to attribute these rituals to Chinese culture, and to ascribe health benefits to these rituals and being less likely to feel forced into performing these rituals. Our findings underscore the importance of clinicians becoming more aware of Chinese postpartum rituals to provide women with culturally competent and patient-centered care.

Towards a Post-Colonial Eco-Cosmopolitanism: Reviving the Sense of Place in Uzma Aslam Khan’s Thinner Than Skin

In an era of unprecedented global connectivity and ecological crises, the concept of “place” has been profoundly transformed within post-colonised communities. This study examines how literature, specifically Uzma Aslam Khan’s Thinner Than Skin (2012), as a medium can revive the sense of place, particularly the place sense redefined by the experiences of post-colonial eco-social catastrophes, as a dialogical co-habitation of human-non-human environment in mainstream academia. This study, at first, moves beyond the Western perception of place as an isolated source of individual identity. It then engages with the recent scholarships on “eco-cosmopolitanism” and political ecology of the global South to show how the forces of (neo)colonial-capitalist modernity and consequent eco-social crises in Pakistan were registered both in Khan’s experimental narrative content and style. This study argues that Khan’s novel employs a “post-colonial eco-cosmopolitan” approach, focusing on the fluidity of place-based identities and the challenges of narrating a post-colonial sense of place in the zones of conflict, catastrophes, and crises. Finally, this study contends that when socio-ecological crises affect various aspects of life—body, home, society, and environment—local cultural practices like oral story-telling, folklore sharing, and traditional rituals serve as sources of collective memory, providing inner stability amid external turmoil.

STRATEGIES OF COGNITIVE IMAGES TRANSLATION IN FAIRY TALES (WESTERN AND EASTERN SLAVIC INTERCULTURAL PARALLELS)

The object is the semantic-grammatical and figurative-cognitive structure of phraseological analogues and fixed comparisons (in Czech and Slovak fairy tale texts) is traced in detail, taking into account their transformations in translation and types of interlingual phraseological equivalents, cases of replacement of phrases and paraphrases by non-phraseological contexts are explicated, and vice versa, the use of figurative signs and idioms in the target text that are not present in the original text (units with spatial semantics, emotion metaphors, folklorems and cognitems related to social and marriage concepts) are analysed. The purpose of this article is the differences in the figurative and conceptual structure, some initial, medial and final formulas in parallel texts and in comparison with other linguistic cultures, in particular Ukrainian and Polish fairy tale discourse (the concept of the Way, the journey, typical for fairy tales) are briefly described. Conclusions: Differences can also be traced at the level of semantic variation in the ways of expressing the difficult tasks and ordeals of the heroes, for example, the idea of the impossible or certain pragmatic formulas and constructions. These and other transformations of plots and motifs are typical of fairy tales in different linguistic cultures. This gives grounds to refer to them as peculiar cognitems. Where relevant, authors provides ethnocultural comments on the motivation of the images, their connection with traditional folk culture, ritual and customary representations of a particular ethnic group, and highlights the specifics of the rendering of these cultural realia, the symbolic function of objects and characters in the compared languages (verbalisation of the concepts of old age, unmarriedness, laziness, ways of phraseological representation of the semantic opposition of friend and foe, good and evil, clean and dirty, etc.). *The study is published with the support of the international grant project Erasmus+ KA220-HED No. 2021–1-SK01-KA220-HED-000022917 entitled The innovation of the concept and curriculum of doctoral study programs and increasing their effectiveness.

Women’s experiences of social support during pregnancy: a qualitative systematic review

BackgroundSocial support during pregnancy can alleviate emotional and physical pressures, improving the well-being of mother and child. Understanding women's lived experiences and perceptions of social support during pregnancy is imperative to better support women. This systematic review explores and synthesises the qualitative research on women's experiences of social support during pregnancy.MethodsDatabases PubMed, CINAHL, MEDLINE, APA PsycInfo and Scopus were searched with no year limit. Eligible studies included pregnant women or women who were up to one year postpartum and were assessed on their experiences of social support during pregnancy. The data were synthesised using the thematic synthesis approach.ResultsFourteen studies were included with data from 571 participating women across ten countries; two studies used focus groups, and 12 used interviews to collect their data. Four main themes were developed ('a variety of emotional support', 'tangible and intangible instrumental support', 'traditional rituals and spiritual support', and 'the all-encompassing natal home'), and six sub-themes ('female network connections', 'care and affection from the husband', 'dissatisfaction with relationships', 'financial support from the husband and family', 'practical support from family and friends', 'health information support').ConclusionsThis systematic review sheds light on women’s experiences of social support during pregnancy. The results indicate a broad variety of emotional support experienced and valued by pregnant women from different sources. Additionally, women expressed satisfaction and dissatisfaction with tangible and intangible support forms. It was also highlighted that spirituality played an essential role in reducing stress and offering coping mechanisms for some, whereas spirituality increased stress levels for others.

Study of Shamanic Witchcraft (Santet) Culture in the Indonesian Archipelago

Various ethnic groups in Sumatra also possess shamanic traditions that involve traditional rites and the involvement of shamans or individuals with specialized skills in countering black magic. Each of these ethnic groups possesses distinct practices and beliefs. The Batak tribe has diverse ethnic subgroups, including Toba Batak, Karo, Mandailing, and others. Within Batak culture, there exist shamanistic rituals, and individuals who perform these rituals are referred to as "datu" or "Batak shamans." The shaman has a crucial function in upholding social and spiritual equilibrium within society. They possess the ability to retaliate against dark sorcery or provide healing for ailments through their expertise and spiritual wisdom. The Minangkabau tribe upholds robust traditional customs, which encompass shamanic rituals associated with the veneration of ancestors and nature deities. Within Minangkabau society, there exist individuals known as "bundo kanduang" who possess specialized expertise in countering the effects of black magic and healing ailments by traditional means. The Bukit Barisan tribe is an indigenous population dispersed over the Bukit Barisan region, encompassing a significant portion of Sumatra Island. Their religious system encompasses shamanic ideologies and rituals that revolve around the veneration of nature spirits and ancestral figures. Shamans, or spiritual leaders, play a crucial role in upholding social and spiritual equilibrium within their communities. It is crucial to bear in mind that these shamanic rituals exhibit variations among different ethnic groups and subgroups in Sumatra. Moreover, the impact of religions like Islam and Christianity has also had an influence on certain shamanic activities within these communities. Shamanic practices encompass a range of functions, including customary rituals and endeavors to address societal and metaphysical discord. Gaining insight into this cultural legacy and shamanistic customs enables us to value the cultural variety in Indonesia and the ongoing evolution and adjustment of various cultures in response to changing circumstances.

An investigating on the ritual elements influencing factor of decorative art: based on Guangdong's ancestral hall architectural murals text mining

The gradual loss of certain good cultural genes in the traditional ritual system is, to some extent, driven by the value orientation of the art of ancestral hall decoration. This article uses wall paintings as a medium to uncover significant variables affecting the decorating of ancestral hall murals and to analyze the culturally formative relationships underlying their art from a ceremonial perspective. It depends on textual excavation. The analysis demonstrates that: (1) the 521 murals generally transmit positive content; (2) the shift in the painted figures’ seating and grooming from formal to casual represents the fading of ceremonial concepts; (3) The control of economic costs may be a possible explanation for the large number of figures in crouching, skirting, and side-lying postures in wall paintings; (4) The fact that the colors employed in the garments of the figures from the Ming and Qing dynasties don’t follow the folk color scheme demonstrates that the creative production at that time was not constrained by a lot of ritualistic considerations. The study concludes that the absence of an educational component in the arts is a contributing factor to the diluted nature of traditional rituals in modern China.

Exploring the traditional ritual of Jaran Kepang Papat: context, heritage, and significance

This paper investigates the traditional ritual of Jaran Kepang Papat, examining its contextual significance, cultural heritage, and the profound role it plays within the Indonesian cultural landscape. Jaran Kepang Papat is a unique and captivating ritual deeply rooted in Javanese culture. Through an interdisciplinary exploration encompassing anthropology, history, and cultural studies, this research unravels the intricate web of meaning and symbolism embedded in the ritual. The method employed in this research is descriptive qualitative. Researchers initiated the data collection process through in-depth interviews with ritual participants, community leaders, and cultural experts knowledgeable about Jaran Kepang Papat. These interviews provide comprehensive insight into the history, meaning, and significance of this ritual. Additionally, researchers engaged in participatory observation during the implementation of the ritual to gain a direct understanding of how it is carried out and experienced by the participants. The paper concludes by emphasizing the importance of understanding and safeguarding Jaran Kepang Papat as a valuable cultural treasure, advocating for its continued recognition and appreciation within the broader cultural discourse. This exploration serves as a testament to the enduring significance of traditional rituals in our globalized society, offering valuable insights into the preservation and appreciation of cultural heritage.

RITUAL COMMUNICATION TEPUNG TAWAR IN TRADITIONAL BATAK WEDDING IN KAMPUNG PAJAK VILLAGE NORTH LABUHANBATU REGENCY (ISLAMIC COMMUNICATION PERSPECTIVE)

Wedding receptions in Indonesia have a lot of diversity in every ethnic group. Various cultures and traditions color each region from various parts of the Province. The diversity of customs, cultures and traditions is basically a wealth for the Indonesian people and should also be preserved by every generation. In this research, several discussions regarding the history and interesting facts about the Tap Flour Ritual Tradition in Batak Traditional Marriages in Kampung Tax Village, North Labuhanbatu Regency, will be revealed. The aim of this research is to extract several points of communication contained in this tradition. Thus, it has become the duty of the government to participate in and preserve every positive tradition passed down by the ancestors of the archipelago.

Symbolic Communications in the Traditional Wedding Rituals of the Banjar Ethnic Community, Indonesia

Symbolic Communications in the Traditional Wedding Rituals of the Banjar Ethnic Community, Indonesia

When Gods Drown in Plastic

Since the turn of the twenty-first century, the category animism has seen a remarkable resurgence in Western scholarship, capturing the interest of many anthropologists, scholars of religion, and philosophers. Some authors have argued that animism can provide a model for a new environmental ethics that acknowledges more-than-human agencies and interdependencies. However, the question remains as to how so-called animist ontologies can transform not only individual moralities, but also the extractivist economic-political structures underlying the current crisis. In this article, we assess some of these claims by examining an Asian ritual tradition that is arguably animistic, while also containing elements of Buddhism, Daoism, and ancestor worship: the worship of whales, widespread along the coast of South and Central Vietnam. Fishing communities here believe that whales are divine beings, incarnations of the maritime god Ông Nam Hải (Lord of the South Sea)—also known as Cá Ông (Lord Fish)—who rescue people in distress at sea. When fishers find beached whales, they offer them elaborate funeral ceremonies and enshrine their bones in local temples. Whale worship constitutes a way of relating to the physical environment, and rituals help people respond to problems such as coastal erosion and overfishing. However, there is no evidence suggesting that this particular animistic belief system has given way to environmentalist action, let alone induced systemic change. Animistic ontologies certainly have ethical dimensions, and they may provide ways for people to make sense of and cope with Anthropocenic crises, but that does not mean they teach people how to act sustainably. At the very least, that would require an active process of translation and adaptation.

STRUKTUR DAN MAKNA RITUAL MANDI PANCOR ADAT DAYAK SAWE DI SEKADAU HULU

Sawe tribe is one of the Dayak tribes in Sekadau Regency. This research aims to explain oral literature, especially the pancor bathing ritual of the Dayak Sawe tribe's wedding tradition. The author will analyze the structure and meaning of the pancor bathing ritual. The research method used in this research is qualitative. Descriptive research form. The approach used in this research is structural. Based on research that has been carried out, the pancor bath is a traditional wedding ritual for the Sawe Dayak Tribe in the Regency. This traditional ritual is carried out as a condition for marriage in the Sawe tribe. Apart from that, this ritual is carried out based on the community's belief that bathing in pancor can relieve the bride and groom from bad luck and danger. So, the pancor bathing ritual is a traditional wedding ritual of the Sawe Tribe which must be maintained by the Dayak Sawe Tribe community so that it doesn't just disappear and the younger generation can learn about the pancor bathing custom.

PANCHAGAVYA IN HUMAN LIFE AND HEALTH: A REVIEW

Gomutra (cow ghee), gomaya (cow dung), ksheera (cow milk), dadhi (cow curd) and sarpi (cow ghee) cumulatively known as Panchagavya. In India, the cow is worshipped as mother and commonly known as ‘Gaumata’. The ratio of ksheera, dadhi, ghrita, gomutra and gomaya is 16:10:8:2:1 according to Shastra yoga, and in Rastargini, it is 1:1:1:1:1 in panchagavya. panchagavya holds traditional as well as ritual values in human life. Each component of panchagavya also has medicinal properties individually. To assess the role of panchagavya and its therapeutic benefits in our day-to-day life and health and to untapped hidden areas mentioned about panchagavya in Ayurveda. Different Ayurvedic classical textbooks, research papers and journals were referred to. After a review of many Ayurvedic literatures and other data sources, the importance of panchagavya was seen. In Ayurveda, panchagavya has a great role in GIT and skin disorders. Panchagavya is also used in havan karma, which also purifies the environment and devotees. Panchagavya products serve irreplaceable medicinal importance in Ayurveda. It is also used in traditional Hindu rituals. During a pandemic, the importance of panchagavya was noticeable. In Ayurveda, there are many Ayurvedic formulations where gomutra and sarpi are used. For example, gomutra is used as bhavana dravya in Sanjeevani vati.

Ritual Tolak Bala Suku N’tuka

This research aims to determine the sequence and rhyme of the N’tuka’ tribe's mantra to repel reinforcements in Nanga Mahap. This mantra is one of several mantras in the N’tuka’ tribe. The method used in collecting data for this study is the observation method. The data obtained is then analyzed using qualitative methods, the data is analyzed as is without reducing or adding to the facts found. The results of this research are that in a series of traditional rituals for rejecting reinforcements there are symbols, including equipment such as: male pig, dog, chicken, pulut flour, jeribang banana, yotak longa, and yellow rice. The rhymes in the N’tuka’ tribe's repellent ritual mantra consist of open rhyme, closed rhyme and initial rhyme, while the rhythm not only contains magic and sacredness, but also contains aesthetic.

Local knowledge-based conservation partnerships in the Tengger tribe community in Poncokusumo and Senduro East Java Province, Indonesia

The Tengger tribe community has local knowledge of using forest products, especially non-timber ones. The use of non-timber forest products from the Bromo Tengger Semeru National Park (TNBTS) area has various uses, including food, medicine, and traditional rituals. The local knowledge of the Tengger tribe community in the use of non-timber forest products (NTFPs) can be used as a reference in determining the types of non-timber forest products that can be developed in conservation partnership programs in the context of community empowerment. This research aims to analyze the types of non-timber forest products that can be implemented in conservation partnership programs in the context of community empowerment. The research was conducted in July – September 2023, in 3 (three) villages located in 2 (two) districts, namely Ngadas village (Enclave), Poncokusumo District, Malang Regency, as well as Ranupani (Enclave) and Argosari villages (TNBTS buffer villages), Senduro District, Lumajang Regency.. The method used is descriptive qualitative, with data collection techniques, namely semi-structured interviews, documentation studies, and observations. Data analysis in this research uses Miles and Huberman analysis. The technique used to select informants was purposive sampling. Snowball sampling was used to select informants. To find out the types of non-timber forest products that are utilized and can be implemented in conservation partnerships based on local knowledge of the Tengger tribe community, informants were used, namely traditional community leaders and ordinary people in the villages of Ngadas about 10 people, Ranupani about 10 people and Argosari about 15 people. Based on the research results, information was obtained that the types of non-timber forest products that are utilized and can be implemented in conservation partnerships are based on local knowledge of the Tengger tribe community. They consisted of the families Asteraceae (3 species), Fabaceae (1 species), Schizophyllum (1 species), Auriculariaceae (1 species), Apiaceae (2 species), Apocynaceae (1 species), Melastomataceae (1 species), Acoraceae (1 species), Lauraceae (1 species) and Fabaceae (1 species), with various uses, including for food, medicine and for traditional ritual purposes.

Abel Carlevaro’s guitar works in the context of Uruguayan musical culture

The relevance of the article is to consider Uruguayan guitar music as an important component of the modern South American repertoire. On the example of the works of famous composer and performer Abel Carlevaro connections with the folklore traditions of the country, Afro-Uruguayan genres and styles have been revealed. Main objective of the study is to reveal the influence of Abel Carlevaro's guitar work on the development of national performing traditions and the repertoire of Uruguayan music. The novelty of the article lies in the introduction of materials about Uruguayan musical culture and guitar work in particular into the domestic musicological circulation. The methodology includes the methods of historical, comparative, phenomenological, structural and functional analysis for the study of factual information; highlighting the elements of folk music of Creole and Afro-Uruguayan origin; genealogy of rhythmic structures of genre sources, fixation of phenomena of guitar imitation of timbres of percussion instruments; a comparison of modern music with the decorative visual roots of an ancient ritual or with a purely European (Spanish, Italian, German) attribution of ancient genres and stylistic trends. Results and conclusions. Abel Carlevaro's work is presented as a part of the Uruguayan cultural heritage. Analogies of the processes of ethnocultural communication and the synthesis of national motifs in architectural structures and musical phenomena of the country are traced. Linguistic and genre characteristics of guitar works were investigated taking into account the positions of modern experts of local folklore, as well as the anthropological experience of Uruguayan scientists studying their musical and ritual tradition. In the process of analyzing «American Preludes» as examples of the most performed musical works by A. Carlevaro, the genre features of tango, milonga, Creole songs, genre-style allusions of baroque giga, passacaglia were determined; the signs of reproducing the timbre resources of the candombe — the titular genre of Afro-Uruguayan origin for the national culture — were revealed. The conformity of its rhythmic core to the genre canons of African music-making embodied in the tradition of Uruguayan carnivals is emphasized. Timbral imitations of percussion sounds are considered in connection with the use of specific methods of sound production on the guitar. The general stylistic and genre priorities of the Carlevaro’s guitar work are correlated with his performing and pedagogical experience, summarized in didactic, methodical, autobiographical publications and presentations in many countries of the world.

Specificity of Plastic Imagery of Competitive Dance Pasodoble

The purpose of the article is to reveal the specificity of the plastic imagery of the Pasodoble competition dance. Research methodology. The historical method was applied, which contributed to the study of the origin and development of Pasodoble; the typological method thanks to which the peculiarities of its formation as a competitive ballroom dance were revealed; the method of artistic-stylistic and art-historical analysis, with the aim of identifying characteristic stylistic features, features of performance technique and specifics of Pasodoble's plastic imagery; method of theoretical analysis and generalisation. Scientific novelty. The plastic imagery of the Pasodoble competitive ballroom dance is studied; the technique of its implementation is characterised; the history of the origin of the dance is considered; The peculiarities of the theatricalisation of Pasodoble's choreography as one of the ten dances of the international competition programme have been revealed. Conclusions. The dramatic Latin American dance, which originated in Spain, has become one of the most popular ballroom dances in the world over the last hundred years. The specific combination of dance elements and figures in the composition by French dance teachers in the 1920s create a unique Pasodoble choreography. In the 1940s, it was codified as one of the dances in the Latin American International Style programme. Pasodoble is characterised by strong, bold movements, and the use of dramatic poses in the process of telling the story of the bullfight. Due to its theatricality and unique music, the Pasodoble is commonly performed at ballroom dance competitions and used in stage ballroom choreography. Pasadoble dance and music are steeped in ritual tradition, with a high sense of drama and power. The specific attire of the dancers, the feel and atmosphere of the dance refer to Flamenco – these dances have a strong connection and symbolic origin in Spanish history and culture. The aesthetic expressiveness of Pasodoble is created by plasticity, a musical-plastic image, which embodies the combination of the inner potential of the dancing couple and the mastery of their bodily expressiveness. Specific theatricalisation by means of choreographic expressiveness is manifested in the Pasodoble competition ballroom dance in many ways. The creation of choreography oriented and theatrical interpretation is connected with solving a number of artistic tasks. The complex of expressive means used by dancers helps to clearly outline the meaningful line of the dance. The imagery of the Pasodoble competition ballroom dance choreography is characterised by its own poetic reflection of the bullfight, taking into account the current codification of steps and figures of the Latin American programme of the international style. The plastic image represents socio-cultural aspects, current social symbols, and meanings in the dance.
 Keywords: Pasodoble, competitive dance, plastic, artistic imagery, theatricalisation.