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.