Ukrainian Dance Research Articles

Scientific studies of ukrainian folk dance: from origins to present

Purpose of Research –to identify the main stages of the formation and development ofdance technique on pointe shoes in classical dance. Мethodology. Based on the analysis of thescientific literature, the use of the historical chronological approach, the method of systematization,it was possible to conduct a scientifically objective study. Scientific novelty. In the article theperiodization of the development of dance technique on pointe shoes as a component of theevolution of classical dance Conclusions. Monographs, dissertations, scientific articles, etc.,devoted to various aspects of Ukrainian folk dance culture, containing a historiographical review,analyze the latest publications from the point of view of the topic of labor, which excludes theintegrity of the research of scientific and theoretical developments on Ukrainian folk dance. Despitethe presence of a significant array of scientific literature of complex research, the theoreticalheritage of Ukrainian dance has not undergone. It is conditionally possible to single out the mainstages of the formation and development of the scientific and theoretical understanding of theUkrainian folk dance: the twenties Twentieth century – the formation of the theory of Ukrainian folkdance (V. Verkhovynets); second half of the twentieth century – development of the theory ofUkrainian folk dance in historical, art criticism and pedagogical research; the beginning of the XXIcentury – the expansion of the problematic range of research on the material of Ukrainian folkdance.Key words: Ukrainian folk dance, scientific works on choreography, dance, choreography.

Сучасні хореознавчі концепції походження танцю «гопак»

The purpose of the article is to review the art-based approaches to the study of the historical origins and features of the Hopak dance and to analyze the semantics of its plastic symbols. The methodology. The application of the analytical principle in the study of art, philosophical, cultural approaches to delineated topics, as well as historical - in the examination of the genesis and development of Ukrainian choreographic art, made it possible to conduct a scientifically objective study. The scientific novelty of the work is that for the first time a comprehensive art study of the historical origins of the Hopak dance and the semantics of its autochthonous plastic forms were conducted. Examples of the interpretation of the name of the dance, recorded in explanatory, terminological, etymological dictionaries, are given. The paper reviews the controversy of the given subject, when considering which the author provides own point of view within the context of a number of statements made by Serhii Nalyvaiko, a studier of Indo-Slavo-Ukrainian mythology and history. Conclusions. The conducted analysis of scientific literature on the investigated subject revealed the absence of theoretical developments on the problems of semantics of choreographic plastics, compositional constructions and images of Ukrainian folk dance «Hopak». Outside the field of attention of researchers are historical and cultural foundations of the development of Ukrainian folk dance in the sense of its figurative and symbolic content. The work emphasizes: Hopak, being a symbolic code of archaic culture, adequately understood by all members of society, was later transformed into a kind of informational «ethnic code» of the nation, enabling the reconstruction of lost and forgotten folk traditions.

НАРОДНЕ ХОРЕОГРАФІЧНЕ МИСТЕЦТВО ЯК ЗАСІБ ПІЗНАННЯ ТА ЗБЕРЕЖЕННЯ ТРАДИЦІЙ НАРОДУ, ПАТРІОТИЧНОГО ВИХОВАННЯ МОЛОДОГО ПОКОЛІННЯ

The article points out the urgency of implementing organizational measures to draw young people's attention to the cultural and folklore heritage of the Hutsul region and the formation and functioning of ethnic choreography today. The issues of preserving the folklore and ethnographic original of folk dance as a universal language of communication, an important aspect in the formation of ideals, values, internal and external appearance, a powerful pedagogical factor in shaping the moral principles of personality, culture of interpersonal relations and, of course, patriotism. The festival movement as a mass form of presentation and creative dialogue over the past 20 years has become much more active, representing various areas of art and creativity. However, there are other forms of mass culture with the involvement of a large audience of fans of different ages, including folk art and folklore – celebrations of calendar and customary holidays, folk festivals in the air on the occasion of religious holidays, folk art festivals, fairs and more. Preservation and reflection of colorful folklore and traditions, in eternal things like music, song and dance, its use and transfusion to future generations give faith that our future should be appropriate and original. Trends in the development of festivals in Ukraine are relevant and their popularity indicates the interest of people in them. Thanks to the conscious citizens of our country, the functioning of cultural festivals is a significant contribution to the prosperity of folk art, creating space for new creative performances. Also, cultural events influence the creation of new or already formed creative units, allow them to identify themselves as individuals or formed artists. Organizational arrangements it is necessary to put on an influential place, to determine their need not only for entertainment purposes, but formative and developing, why they actually need the participation of young people. The main idea of the modern cultural process is confirmed, it is to motivate the young generation to be active in learning about national culture, traditions, art, in particular Ukrainian dance.

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.

Українські балети як етномаркери

The purpose of the article is to identify the main aspects of the ethnomarking role of Ukrainian ballets. Methodology. The study used the analysis of scientific literature, a comparison of the "Ukrainian national ballet performance" concept’s definitions, systematization, art history analysis. Scientific novelty lies in clarifying the concept of "Ukrainian national ballet performance", identifying ethnomarkers in Ukrainian ballets. Conclusions. Ukrainian national ballet performances as elements of spiritual culture play a differentiating function, acting as original ethnomarkers of domestic ballet in the world choreographic palette. Despite the functional incoherence of ballet with the traditions of folk art, folklore, synthesized with academic choreographic and musical forms, leads to the emergence of a peculiar phenomenon – the Ukrainian national ballet. "Ukrainian National Ballet Performance" is a ballet performance, saturated with elements of national identification, namely: worldview, moral, aesthetic, psychological characteristics and the like; score with elements of folk melos; choreography is based on a combination / synthesis of classical dance and Ukrainian dance folklore. The external and internal components of the artistic image in national ballets are ethnomarked – they are the embodiment of purely choreographic signs of belonging to the Ukrainian ethnic group (vocabulary, drawings, etc.) and national (mentality, temperament, moral attitudes, behavioral stereotypes, etc.). The artistic image as a whole and its components in national ballet performances acquire the features of a symbol, plays an important role in ethnomarking at many levels: figurative, lexical, spatial-compositional, thematic, attributive, and the like.

Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation

Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation

Dance in culture: the anthropological context of Ukrainian folk dance in the Polish literature of the nineteenth century

Purpose of the article is to study the anthropological context of Ukrainian folk dance in the Polish literature of the nineteenth century, due to the need to emphasize the role and diverse functions of dance in the life of man and society. A methodology of the research based on the application of methods of analysis, synthesis, comparison, and generalization, which gave an opportunity to reveal the understanding of Ukrainian dance by Polish researchers and to show its cultural content and connection with other aspects of culture. Scientific novelty lies on the fact that the interpretation of Ukrainian folk dance by representatives of another (Polish) culture is presented for the first time, and the accentuate of many observations important to the dance anthropology is highlighted. The analysis involves considerations of several outstanding foreign dance anthropologists. Conclusion. Dance is just as fascinating object of research as literature, music, art, film. It has several distinguishing features, among which the most important - one-time location in space and time, elusiveness, complexity in the record and description. Ukrainian folk dance has always played an integrative, magical, recreational, psychological role in the life of society, which the Polish ethnographers and artists of the XIX century tried to fix. The anthropological context of dance study helps to reveal its connection with other cultural phenomena, such as feast, fun, competition, war, death.

Сторінки творчої біографії Едуарда Бутинця

The purpose of the research is to analyze and systematize information about the life and work of Eduard Butynets. Methodology. The complex of methods was used for the research: historical-chronological and biographical to reveal the authenticity of the artist's life facts; system analysis allowed to analyze the studied problem in a comprehensive and objective way. The scientific novelty consists in the fact that for the first time the information about the creative way of Eduard Butynets – the honored worker of Ukrainian variety art, the representative of Ukrainian, namely, Lviv dance school, the specialist on the stage-theatrical art, folk-stage and Ukrainian dance, historical and everyday, modern ballroom dance, dance composition and dance staging, choreographer art, who trained a galaxy of choreographic artists in Ukraine. Conclusions. As a result of the analysis and systematization of the information, it turned out that Eduard Butynets is an outstanding figure in the choreographic art of Ukraine in the mid-twentieth and early twenty-first centuries. Despite the routine of teaching activity at the College of Culture and Arts, and later in Lviv University, the artist creates a system of pedagogical methods and principles that provide an important basis for the formation of specialists competences in choreographic art, professional activities of followers and students. Exclusive attention in the activities of artist was paid to preserving the national heritage of Ukrainian choreographic art, as well as to transfer the best samples to the students. There was a considerable number of new and restored best works of choreographic art of Ukraine in the creative work of E. Butynets. The artist formed a school of students who today continue choreographic work throughout the territory of Ukraine and abroad. The article presented only attracts attention to the problem of E. Butynets's work role in the development of choreographic art in Ukraine. Prospective for further study is a detailed understanding of the creative heritage of the dance master, the principles of pedagogical activity, as well as studying the experience of his students.

Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)

The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.

Decanonization of modern internet-poetry on the example of genre of «pyrizhok»

Special features of a modern internet poetry-genre «pyrizhok» are reviewed in the article. The investigation of texts, which are not suited to the traditional norms of literature, is based on the scientific understanding of contemporary literary process on the part of literary scholars such as O. Rakitna, O. Yudina, T. Kononenko, K.Rakitna, M. Pekhа. Traditional canonical forms of poetry do not always satisfy the modern recipient, at the same time the new forms have not achieved sufficient evolution. Comparative analysis of traditional forms of concise poetry is made, such as tchastivka (humorous rhyme), kolomiyka (Ukrainian dance and song), sonnet, rubai from the one hand and modern forms of internet lyrics genre of «pyrizhok» and «poroshok» from the other hand. Despite “patties” («pyrizhky») are rather related with folklore, they are created by a particular author, often under the pseudonym. The presence of a particular author is akin to a “patty” with a canonical genre — rubai. This canonical genre is associated with one author — Omar Khayyam. According to authors, Vladyslav Richter is the “patties’” first creator, but his work only gave impetus to the development of the genre. A huge number of unknown authors led the genre into a category of canonical / anticononical. In this work, the complicated and contradictory character of the category “canon” is investigated. The evolution of the terms “canon” and “decanonization” in poetry comes along the process of democratization in literature. Similar features incidental to «pyrizhok» and “сomics” are found namely briefness, laconic brevity, illustrativeness and contextuality. In such a manner all the forms of internet-poetry might be considered as experimentally provocative genre. Decanonization is observed on all stages — from stylistic layer to high-principled accent. «Pyrizhok» reflects social disposition and is a part of decanonization process. In this research the attempt of provingthat «pyrizhok» is one of the most democratic genre of modern poetry is made. It is needed to be investigated by literature specialists.

«Маленьке тріо» для кларнета, фагота і фортепіано Олександра Яковчука: жанрово-стильовий аспект

The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

Ethnographic research activity of Vasyl Verchovinets: stages, trends, essence

The content of ethnographic research activity of the famous Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composer V. Verchovinets (1880–1938) is considered in the article. Its four stages were defined, according to the periods of his life : 1) propaeteutical – the period of teaching at the national schools of Galicia and the beginning of artistic activity (1899–1904); 2) generalizing – the period of theater music-educational and ethnographic research activity (1904–1919); 3) introducing – the period of pedagogical activity at the higher educational institutions (1919–1930); 4) innovatory – the period of pedagogical and cultural-educative work with art groups (1930–1938). The contradictions that motivated the ethnographic research activity of V. Verchovinets were revealed, its main tendencies and regularities were formulated. The result of writing down, processing, systematization and generalization of ethnographic material were the famous scientific methodological works “Ukrainian wedding”, “The theory of Ukrainian dance”, “Vesnianochka”, remarkable practical contribution of the teacher in the different branches of the native science and art

Remain True to the Culture?

A series of dance seminars was held in Ukraine and Saskatchewan from 1971 to 1991, hosted by a left-wing political and cultural organization, the Association for United Ukrainian Canadians. These seminars heavily influenced the development of Ukrainian dance in Saskatchewan and Canada by introducing new dance techniques, choreography, and costuming from Soviet Ukraine. They were also very controversial, challenging the definition of Ukrainian Canadian identity in Canada during the Soviet era.