Художньо-мистецькі аспекти ідентифікації народних танців Слобожанщини в контексті соціокультурного розвитку регіону

Мостова, Ірина Сергіївна

Художньо-мистецькі аспекти ідентифікації народних танців Слобожанщини в контексті соціокультурного розвитку регіону

Мостова, Ірина Сергіївна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2341

Date: 2019

Abstract:

Дисертацію присвячено художньо-мистецькій ідентифікації народних танців Слобожанщини в контексті впливу соціокультурних факторів на розвиток цього виду народного мистецтва. У праці використано квантитативний аналіз музично-хореографічної партитури як інноваційний щодо хореографії спеціальнонауковий метод. Наукові результати роботи полягають у встановленні прикметних ознак локальних інваріантів народних танців і танцювального канону Слобожанщини та його відмінностей від канону народних танців інших регіонів України. Продемонстровано значну подібність танців населення Слобожанщини з танцями Західного та Центрального регіонів. Проаналізовано професіоналізацію народного танцю досліджуваного регіону; розкрито тенденції перенесення народних танців на сценічний простір; визначено особливості впровадження танцювального канону сучасними балетмейстерами Слобожанщини.

Description:

The dissertation is devoted to the artistic and creative identification of folk dances of Slobozhanshchyna in the context of the influence of social and cultural factors on the development process of this type of folk art. The work is based on a representative source database, which combines classical literary sources with more modern materials collected during competitions, festivals, concerts, etc. The work utilizes innovative (with regards to choreography) special scientific methodology - quantitative analysis of the musical and choreographic score. This methodology is integrated into the culturological approach according to which: a) peculiarity of the dance canon of Slobozhanshchyna is represented by the influence of social and cultural characteristics of Slobozhansky region; b) the folk dance of Slobozhanshchyna and the peculiarities of its dance canon are studied as a phenomenon that acts as a factor in the preservation and relay of the national cultural heritage. Scientific results of the work are to establish subject features of local invariants of folk dances and the dance canon of Slobozhanshchyna and its differences from the canon of folk dances of other regions of Ukraine. The composition of Slobozhanshchina folk dances is characterized by frequent use of “gates” of different forms and complexity of performance; the basic dance steps are performed from the heel, positions of arms and torso are arbitrarily while performing the movement, often with elements of improvisation; the movements that perform with arms in folk dances are significantly distinguished by diversity, in comparison with the Ukrainian and Russian folk dances of the central regions; frequently occurring “toe-touching steps” reflect the musical multi-rhythmicity. In addition to the common features, the dance cannon had distinctive dance traditions in each of the three historical ethnographic zones into which the region was traditionally divided. In the first historical and ethnographic area, the dance composition is formed by the patterns with complex movements inside. Dances with towels were common. Dance moves were softer compared to the nature of the movement of the Central regions of Russia. There were multiple variants of “tapping”" and "male clapping”. Various forms of “section” are common. The appearance of such lexical novelties as “golubets” (dove’s dance) and “pleskach” are with mentioning, which emphasizes the acceleration of assimilation processes among the various population groups. In the dance compositions of the second and third zones closed triangular dance patterns were often used, as well of division of performers into two parallel lines with alternate repetition of a dance figure, frequent change of direction of movement of the main dancing pattern or in a pair of performers. Among the lexical novelties, the appearance of “small tapping” should be noted, as well as sharp bending of the torso, arbitrary position of the arms, jumps. The emphasis is shifted to the second beat is inherent, which is reflected in the nature of the movements. Only dance traditions of Ukrainian Cossacks were prone to assimilation. Due to the assimilation of the features of the folk dance of representatives of the Ukrainian Cossacks, the expanded circular or semicircular forms dominated throughout Slobozhanshchina, in the middle of which a solo dance or a dance technique was performed. Further spread of assimilation processes was due to the large number of fairs and the appearance of common elements in traditional costume. Also, the formation of folk dance features was influenced by internal migration processes controlled by the government, as well as features of culture in the context of living on the border. Significant similarity of dances of Slobozhanshchyna population with the dances of the Western and Central regions is demonstrated. Analysis of the process of professionalization of folk dance in the region studied; tendencies of folk dances transfer to the stage space are revealed; features of the dance canon implementation by modern choreographers of Slobozhanshchyna are determined.

Show full item record