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Journal articles on the topic 'Choreographers'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

МОВА, Людмила. "Improvisation as an important element of future choreographers training." EUROPEAN HUMANITIES STUDIES: State and Society 1, no. I (2019): 130–40. http://dx.doi.org/10.38014/ehs-ss.2019.1-i.10.

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Improvisation is considered an important and indispensable element of future choreographer's training, that contributes to future choreographer’s personality development and his/ her creative potential. The author analyzes the structure of work when creating a composition according to the 3q-system (Iztok Kovac, Slovenia). This article shows cases and analysis of personal variants of working with improvisation when training students-choreographers.

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2

Kant, Marion. "Mark Morris: Musician-Choreographer." Dance Research Journal 50, no. 1 (2018): 104–11. http://dx.doi.org/10.1017/s0149767718000104.

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Mark Morris: Musician-Choreographer by Stephanie Jordan is unusual in many ways, and there are hardly any volumes to which it can be compared. That alone sets this study apart from other recent titles on choreographers and their works. Jordan's book was published by Dance Books; yet, it is about music more than anything else—a choreographer's relationship to music, his formation and evolution as a dancer and dancemaker through music, the exploration of music through dance, and eventually Mark Morris's arrival in music as a conductor.

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3

Pyzhianova, Nataliia, Serhiy Kutsenko, and Petro Voloshyn. "The role of folk dance in formation of the choreographer creative potential." Revista Amazonia Investiga 9, no. 27 (2020): 252–59. http://dx.doi.org/10.34069/ai/2020.27.03.27.

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The aim of the article is to substantiate the role of folk dance in the process of formation of the creative potential of a student-choreographer. Methods of generalization and comparative analysis were used in the research process. The article identifies three pedagogical conditions for formation the creative potential of students-choreographers by means of folk dance. It is pointed out that promising planning for professional growth plays an important role in formation the choreographers’ creative potential. The expediency of involving students in creative experiments, which include the crea

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4

Gavish, Maya, and Catherine J. Stevens. "Thinking Strategically about Dance Making: An Analysis of the Structuring Stage and the Strategies Choreographers Use for Varying Dance Works." Dance Research 38, no. 1 (2020): 41–64. http://dx.doi.org/10.3366/drs.2020.0290.

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This empirical study investigates how expert choreographers structure their dance pieces and vary their dance designs. Specifically, the methods choreographers apply for selecting, ordering, and refining movement material into a coherent whole were explored. Accordingly, the structuring process of two expert contemporary choreographers was isolated and examined separately from other stages of dance development. We have used observations, interviews and questionnaires to understand the choreographers’ actions and thoughts as they worked on creating three dance pieces. In addition, a model from

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5

Miao, Yu. "An Introduction to the Relationship between Dance Choreographers and Dancers: Taking the dance work "Looking at the Sea Tide" as an Example." Highlights in Art and Design 4, no. 2 (2023): 145–48. http://dx.doi.org/10.54097/hiaad.v4i2.13454.

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The process of producing a dance work of art, which can be roughly divided into the creation of dance art and the conveyance of dance art, is a process of continuous fusion and perfection between the choreographer and the dancers. Their roles are both independent of each other and interconnected, and they are constantly switching with each other. They share the same mind with each other, but they share different tasks and responsibilities. For the perfect presentation of dance art, this paper takes the basic conception of choreographer's creation and the analysis of the basic quality of dancer

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6

Candelario, Rosemary. "Choreographing American Dance Archives: Artist-Driven Archival Projects by Eiko & Koma, Bebe Miller Company, and Jennifer Monson." Dance Research Journal 50, no. 1 (2018): 80–101. http://dx.doi.org/10.1017/s0149767718000050.

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Choreographers have begun experimenting with artist-driven archives using digital technologies, exhibitions and installations, and live performance as a way to generate new work from their own archival materials and increase access to their body of work for audiences. This article focuses on three recent artist-driven archive projects by notable American choreographers Eiko & Koma, Bebe Miller Company, and Jennifer Monson. Drawing on interviews with the choreographers as well as on analyses of the three projects, I suggest that these projects' most important contribution is the idea that a

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7

PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.

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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer.

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8

Jonīte, Dita. "Horeogrāfa stratēģijas mūsdienu teātrī: Agates Bankavas piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 259–68. http://dx.doi.org/10.37384/aplkp.2020.25.259.

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During the last two decades, contemporary dance choreographers of Latvia have been more and more intensely involved in staging dramatic theatre performances. This observation has served as a basis for my research question: if and how the stage movement paradigm has changed in the dramatic theatre due to the input of professional contemporary dance choreographers. The increase of the choreographer’s competency and responsibility is related to the paradigmatic change in the theatre in general. Hans-Thies Lehmann, the distinguished German theatre theorist, has developed his post-dramatic theatre

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9

Kenzhetaeva, Aliya, Karlgash Aitkalieva, and Tolkyn Amreyeva. "Integration of Experience and Achievements in the Development of Performing Skills of Kazakh Dance in Higher Education Institutions of the Republic of Kazakhstan." Harmonia: Journal of Arts Research and Education 23, no. 1 (2023): 53–63. http://dx.doi.org/10.15294/harmonia.v23i1.43859.

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The main purpose of this research is to study the experience and achievements of previous generations of folk dance performers to improve work with future choreographers who study Kazakh folk dance in higher education institutions of the Republic of Kazakhstan. The study’s methodological approach is the search and theoretical analysis of sources aimed at studying both the history of the Kazakh folk dance itself and the development of the performing skills methods of Kazakh dance in future choreographers. This research uses typological, historical, and thematic analysis methods from used litera

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10

TKACHENKO, M. "VISUALIZATION OF THE DIDACTIC PROCESS DURING THE SPECIAL COURSE "PROJECT TECHNOLOGIES IN THE PROFESSIONAL ACTIVITIES OF A CHOREOGRAPHER"." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 31 (August 7, 2023): 240–47. http://dx.doi.org/10.33989/2075-146x.2023.31.283442.

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The article reveals the peculiarities of the visualization of the didactic process during the implementation of the special course "Project technologies in the professional activity of a choreographer", which consist in the use of three types of computer presentations: presentation as an accompaniment to a report; presentation as a video clip; presentation as schematic animation (scribing). It was found that the visualization of the didactic process during the implementation of the special course "Project technologies in the professional activity of a choreographer" has a dual nature, since co

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11

Pidlypska, Alina, Iryna Gutnyk, Nadiia Gorbatova, Andrii Pidlypskyi, and Olha Bilash. "Theoretical aspects of the formation of the individual styles of teachers of choreographers in the process of obtaining second-level educational and third-level educational and scientific degrees in higher education." Multidisciplinary Reviews 6 (February 4, 2024): 2023spe004. http://dx.doi.org/10.31893/multirev.2023spe004.

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The article concretizes the scientific idea of professional training of choreographers. The specifics of the choreographers were determined, and the features of their professional activities were identified. The essence and structure of the individual style of the teacher-choreographer are revealed. The means that contribute to the formation of the individual style of teacher-choreographers in the process of professional training at a university have been identified. A system for forming individual handwriting has been developed for teachers and choreographers, and its use has been tested in t

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12

Khotsianovska, Liudmyla, and Hanna Perova. "Interpretation of Opera Works on the Ukrainian Ballet Stage." Dance Studies 4, no. 2 (2021): 144–51. https://doi.org/10.31866/2616-7646.4.2.2021.249293.

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The purpose of the article is to reveal the peculiarities of choreographed interpretations of opera performances on the Ukrainian ballet stage. Research methodology. A set of general (analysis and synthesis, induction and deduction, comparison) and special (art analysis) scientific methods was used to conduct the research. Scientific novelty. Ballet interpretations of opera performances in Ukraine were analyzed for the first time. Conclusions. When interpreting operas on the ballet stage, there is a shift of meaningful accents depending on the choreographer’

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13

Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.

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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an A

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14

Blahova, Tetyana. "FORMATION OF CONCEPTS OF PROFESSIONAL BALETMAYSTER IN THE CONTEXT OF DEVELOPMENT OF UKRAINIAN HOREOGRAPHIC EDUCATION." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 140–51. http://dx.doi.org/10.33989/2226-4051.2018.17.176293.

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The article analyzes the essential features of the profession of choreographer, substantiates the value of the artistic and pedagogical heritage of the outstanding Ukrainian choreographers of the 20th century in the development of choreographic education in Ukraine; their ballet master's works are summarized, leading tendencies of professional activity; A complex of innovative artistic and aesthetic principles of work in choreographic collectives is described.The ballet master's activity as a specific kind of artistic activity is interpreted as a complex multidimensional phenomenon in the fiel

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15

TARANTSEVA, O. "DIDACTIC MODEL OF FORMATION OF DESIGN COMPETENCE OF FUTURE CHOREOGRAPHERS." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 35 (May 30, 2025): 223–31. https://doi.org/10.33989/2075-146x.2025.35.331176.

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In the article, the author reveals the essence of the project competence of a future choreographer as an integrative personal quality of a student, which characterizes the ability to project activity in the field of choreography. The components of the project competence of a future choreographer are determined: motivational-cognitive, activity-creative and personal-leadership. A didactic model of the formation of the project competence of future choreographers is developed, which consists of 4 blocks: methodological-targeted, resource-content, methodological-implementation, diagnostic-resultat

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16

Bigus, Olga. "Problems of cliche in the context of creativity of choreographer-director of modern dance." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 53–58. http://dx.doi.org/10.32461/2226-2180.39.2021.238683.

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The purpose of the article is to identify the specifics of the use of clichéd expressive means in the process of creating a production of modern choreography and to determine the ways to get rid of clichés in the context of philosophical and worldview types of choreographic life. Methodology. In order to identify the peculiarities of the use of clichéd means of expression in the performances of modern dance, the typological method, the method of structural-semantic and textual analysis was applied. Scientific novelty. The problem of the use of clichéd expressive means by choreographers-directo

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17

Sosina, Valentyna. "Features of Choreographic Training in Sports." Dance Studies 3, no. 1 (2020): 72–79. https://doi.org/10.31866/2616-7646.3.1.2020.203958.

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The purpose of the research is to determine the features of choreographic training in sports and to identify differences in the work of the trainer-choreographer and teacher of choreographic disciplines. Methodology. The research methodology is based on a theoretical analysis of scientific, methodological and specialized literature, systematization of practical material and own experience in this field, the study of a wide range of empirical research in the theory, methodology and practice of choreography and technical and aesthetic sports. Scientific novelty. The scientific nov

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18

Kenzhetaeva, A. I., and N. F. Spinzhar. "The development of pedagogical competence of students-choreographers in the process of studying folk dance." Vektor nauki Tol'yattinskogo gosudarstvennogo universiteta. Seriya Pedagogika i psihologiya, no. 3 (2023): 19–26. http://dx.doi.org/10.18323/2221-5662-2023-3-19-26.

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The current state of the labor market dictates the necessity to develop personal and professional competencies in the current educational process of Kazakhstan. A modern specialist should both be educated and capable of generating knowledge and be able to respect and appreciate the opinions of other people, to negotiate with them to reach agreement, be active, emotional, communicative, and organized. Moreover, currently, much attention is paid to pedagogical competence in the professional training of a specialist – a future choreographer. The authors consider the development of personal and pr

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19

Lavrynenko, Svitlana. "FORMATION OF SOFT SKILLS OF THE FUTURE CHOREOGRAPHER IN THE PROCESS OF TRAINING IN ZVO." Academic Notes Series Pedagogical Science 1, no. 204 (2022): 166–72. http://dx.doi.org/10.36550/2415-7988-2022-1-204-166-172.

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The paper studies the process of forming the soft skills of the future choreographer in the process of studying in the Free Economic Zone, which is an important element for ensuring future successful employment in the labor market. The interpretation of the essence of the category "soft skills" is analyzed and the main characteristics of soft skills are investigated. It is established that there are three categories of soft skills: social-communicative (communication skills, interpersonal skills, group work skills, communication ethics, work ethic, etc.), cognitive (critical thinking, problem-

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20

Кovalenko, Oleksandr. "DIDACTIC FUNDAMENTALS OF MUSICAL TRAINING OF FUTURE CHOREOGRAPHY SPECIALISTS IN DOMESTIC HIGHER EDUCATION INSTITUTIONS." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (March 31, 2021): 91–97. http://dx.doi.org/10.31499/2307-4906.1.2021.228723.

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The article considers the didactic conditions of musical training of choreographers in higher education institutions of our state. In this work the structural didactic features of musical competence of choreographers are defined, such as: feature of professional activity planning; ways and methods of performing professional activities; communication techniques; organizational skills of choreographers; features of dance and motor motility. The article also states that the author considers an individual approach to take into account the ways of adapting the properties of studentsʼ nervous system

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21

Androshchuk, Liudmyla, Tetiana Medvid, Tetiana Blahova, Oleksandr Zhyrov, and Olha Bykova. "Training of Choreographers in Higher Education Institutions." Harmonia: Journal of Arts Research and Education 23, no. 1 (2023): 14–27. http://dx.doi.org/10.15294/harmonia.v23i1.43559.

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The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of

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22

Huang, Aiyun. "La vie qui bat: Steve Reich’s Drumming and Dance Choreography." Circuit 27, no. 2 (2017): 27–40. http://dx.doi.org/10.7202/1040875ar.

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The music of Steve Reich has been widely written about. In this article I will focus on choreographies set to live performances of Drumming (1971). Drumming is perhaps Reich’s most important early work and a culmination of his various musical explorations and compositional techniques. I have selected three choreographers: Laura Dean, creator of the first choreography set to the music of Drumming (1972); Anne Teresa De Keersmaeker, a choreographer whose works such as Drumming (1998) share Reich’s underlying principle of structures as processes; and Ginette Laurin, whose La vie qui bat (1999) wa

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23

Maghfudzah, Kamilia, and Herlinda Mansyur. "RINTIHAN." Jurnal Sendratasik 9, no. 1 (2020): 80. http://dx.doi.org/10.24036/jsu.v8i3.108099.

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Abstract The "Moans (Rintihan)" artwork aims to elevate personal life into motion elements, create dance artworks, stimulate art performers to increase creativity in art and express the experience of writers as beginner choreographers in the field of dance art creation. The form of presentation in the “Moans (Rintihan)" artwork was representational. The “Moans (Rintihan)" artwork depict family activities that began with a beauty and harmony of the family that end in something not as expected. In this work, the choreographers used movements that have meaning and pure motion that had been distri

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Buh, Maša Radi. "Young choreographers facing unfavourable conditions: Interview with choreographer and teacher Maja Delak." Maska 34, no. 196 (2019): 76–87. http://dx.doi.org/10.1386/maska.34.196-197.76_7.

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The first part of the interview with Maja Delak opens the question of the development and responsiveness of contemporary dance educational programmes in Slovenia, including the problem of pursuing the studies after the secondary level. In the second part, it touches upon the conditions that once shaped the formation of choreographers and dancers in Slovenia and the ones that do so today, while outlining a concept for future development.

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Nishida, Masaki, and Amina Goro. "Dreaming, insomnia, and choreographic creativity of young female dancers: a cross-sectional preliminary study." Creativity Studies 18, no. 1 (2025): 197–207. https://doi.org/10.3846/cs.2025.18095.

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Human creative activities have been postulated to be related to insomnia and dreaming during sleep. The current preliminary cross-sectional study investigated the associations between insomnia, dreaming, and creativity of choreography in young female dancers. Forty-six female contemporary dancers were included in the present online study and divided into two groups, creative choreographic dancers and non-choreographers, according to their experienced professional roles. The frequency and contents of dreams and nightmares were collected from the participants. In the choreographer group, the fre

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26

Satkunaratnam, Ahalya. "Staging War: Performing Bharata Natyam in Colombo, Sri Lanka." Dance Research Journal 45, no. 1 (2013): 81–108. http://dx.doi.org/10.1017/s0149767712000319.

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This article is an ethnographic study of Bharata Natyam choreographies performed in venues across Colombo, Sri Lanka, during the ethnically divisive civil war. The compositions reveal the strategies of female choreographers who are using dance to address the war in a climate that often silences citizens from discussing the topic in public. I illuminate the discreet negotiations of ethnic identity taking place within choreographies, informed by circulating meanings ascribed to the dance, the ethnic compositions of the bodies dancing and watching, and the shifting experience of living in the cit

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Portnova, Tatiana Vasilyevna. "Compositional thinking and self-development of a future choreographer: Developing skills in organizing stage space." Science for Education Today 15, no. 1 (2025): 48–65. https://doi.org/10.15293/2658-6762.2501.03.

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Introduction. Considering the spectacular nature of the theatrical image, the author addresses various aspects of the organization of the stage space formed on the stage tablet. The specifics of the future choreographer’s compositional thinking include various components of the space created by the architectural environment of the stage, sculptural forms and angles of performers, colour palette, light, linear and airy perspective, necessary for the competent and harmonious construction of a choreographic performance. In modern dance art, it is possible to use a variety of means to create a cho

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Khabarova, T. A. "MODERN CHOREOGRAPHY AS A UNIVERSAL MEANS OF FORMING A CREATIVE PERSONALITY." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 90 (2023): 54–58. http://dx.doi.org/10.37313/2413-9645-2023-25-90-54-58.

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Subject of the article: creativity and creativity as a process of development of a choreographer's personality in choreographic art. The object of the article: choreographic art and its special role in the development of a creative personality. The purpose of the project: to update information about the methods and forms of plastic work of choreographers in professional choreographic collectives. This article focuses on the fact that creativity and creativity in modern dance are the main base, which in turn forms an active creative personality. In the conditions of the modern world, where spec

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Elswit, Kate. "“Berlin … Your Dance Partner Is Death”." TDR/The Drama Review 53, no. 1 (2009): 73–92. http://dx.doi.org/10.1162/dram.2009.53.1.73.

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Dance and death combined in post-WWI Germany to complicate the material authority they were seen to share. Using nascent modern dance techniques to exploit the expressive capacities of the dancing body, choreographers turned to dances of death to portray the increasingly difficult conditions of humanity. The logistics of performing these spectacles of the real are investigated through three choreographer/performers of the Weimar Republic: Kurt Jooss, Valeska Gert, and Anita Berber.

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Birringer, Johannes. "Dance and Interactivity." Dance Research Journal 36, no. 1 (2004): 88–111. http://dx.doi.org/10.1017/s0149767700007580.

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A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-based animations find their historical roots in late nineteenth century motion studies in chronophotography and early cinema (Muybridge, Marey, Méliès). F

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Djan, Syao. "THE CONCEPT OF PROFESSIONAL SKILLS OF CHOREOGRAPHERS AS A SYSTEM." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (March 31, 2021): 107–12. http://dx.doi.org/10.31499/2307-4906.1.2021.228725.

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This article discusses the concept of “professional skills of choreographers” as a system. The paper notes that choreography, being one of the spatio-temporal arts, is changing in accordance with the development of social relations and the requirements of today, which highlight the return to universal values, deep folk traditions and culture. Preservation of cultural values takes place in the socio-cultural sphere and is carried out by specialists in the field of choreography. The article considers the need to determine the criteria of professional skill of choreographers in the conditions of

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Melovatskaya, Anna. "The reconstruction of the “Naughty Couplets” ballet of the choreographer G. Malkhasyants." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 67–74. http://dx.doi.org/10.7256/2453-613x.2020.6.34274.

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The research subject is the period of the 1960s - the 1970s - the period of flourishing of the Soviet ballet theatre. During this period, in many theatres of the Soviet Union,&nbsp; choreographers-pioneers were working whose creativity was based on the commitment to traditions and readiness to propose their own vision of the development of ballet theatre. The article considers the early period of work of one of &ldquo;the men of the sixties&rdquo; - a choreographer Gennady Malkhasyants (1937 - 2008). The author of the article reconstructs one of his earliest plays - the ballet &amp

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Zamorska, Magdalena. "Choreografie antropocenu, czyli o materiach wprawiających w ruch." Prace Kulturoznawcze 22, no. 1-2 (2019): 113–28. http://dx.doi.org/10.19195/0860-6668.22.1-2.8.

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Choreographies of the Anthropocene: Mobilising matterA point of departure for the author is thesis proposed by T.J. LeCain, who studied anthropocentrism hidden in a very nucleus of debate about antropocene. One should, in his view, comprehend and analyse culture and technology as the part or the product of a matter. The “human age” initiated in the age of the industrial revolution driven with fossil fuels turns out to be an effect of transformations, of which coal is a chief perpetrator. The turn from anthropo- to carbocene let us examine factors which are the underlying reason for development

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Volchukova, Viktoriia, Olena Tishchenko, Olha Barabash, and Oleksandr Nos. "DIGITAL TECHNOLOGIES IN CREATING CHOREOGRAPHIC PERFORMANCES." Modern Higher Education Review, no. 9 (December 28, 2024): 60–68. https://doi.org/10.28925/2617-5266/2024.911.

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Digital technologies such as computers, websites, 3D modelling and VR reality, multimedia, computer graphics are increasingly used by contemporary choreographers to create performances, choreographic shows and contemporary choreographic works. Nowadays, not every viewer can understand digital media as a new way of perceiving choreographic art. The viewer also underestimates the objects of media art, i.e. the technologies that are used to create a choreographic work. The fact that computer technologies were used in the process of their creation, levels the artistic intention of the choreographe

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Pavinskaya, Kristina Vladimirovna. "Dynamics of students-choreographers’ readiness for health care activities after their participation in the educational program «Health saving in choreography - the basis of professional longevity»." Samara Journal of Science 9, no. 1 (2020): 268–73. http://dx.doi.org/10.17816/snv202091309.

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The paper presents the results of an empirical study of readiness indicators for health-saving activities of students-choreographers after participating in the educational program Health-saving in choreography - the basis of professional longevity as well as professionals (teachers and choreographers) who have been trained in the program of additional professional education and have 3-year experience in health-saving activities. The research work with students-choreographers was carried out from 2012 to 2017 on the basis of Institute of Contemporary Art. The analysis of the initial level of st

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Biagioli-Ravetto, Mario, and Kriss Ravetto-Biagioli. "Riffing off intellectual property in contemporary dance." International Journal of Cultural Property 29, no. 2 (2022): 201–16. http://dx.doi.org/10.1017/s0940739122000091.

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AbstractDance disappears the moment it becomes visible, the complexity of its ontology matching that of its production and of its intellectual property status. Its creative process is both collaborative and hierarchical, involving the transmission of knowledge from one body to another, remembering steps, recognizing moves, mimicking, and improvising gestures as well as coordinating the roles of dancers, choreographers, and studios. Matthias Sperling’s Riff (2007) directly addresses many of these issues, which inform the specific content of the piece as well as its conceptualization, developmen

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Siegel, Marcia B., and Millicent Hodson. "Restaging Works from the Ballets Russes: A Conversation between." Experiment 17, no. 1 (2011): 345–74. http://dx.doi.org/10.1163/221173011x611996.

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Abstract Critic Marcia Siegel and choreographer Millicent Hodson discuss problems of putting lost or nearly forgotten 20th century ballets back on stage, focusing on questions of authenticity, interpretation, choreographic process and documentation through direct contact with Diaghilev's dancers. The discussion refers specifically to reconstruction of ballets by Nijinsky and Balanchine which Hodson has done with scenic consultant Kenneth Archer during the last years when Ballets Russes artists still survived to pass on their knowledge. Siegel extends the discussion to Diaghilev's other choreog

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Melovatskaya, Anna E. "The Performance “Memory” in the Context of the Creative Searches of the Soviet Ballet Theater of the 1960s—1970s." Observatory of Culture 19, no. 6 (2022): 659–67. http://dx.doi.org/10.25281/2072-3156-2022-19-6-659-667.

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The period of the 1960s—1970s was the heyday of the Soviet ballet theater. At that historical stage, a whole generation of innovative choreographers worked in many theaters of the USSR, and their work was based on loyalty to traditions and willingness to present their own vision of the ballet theater development. The article addresses the past of the Soviet ballet theater and examines the early period of creativity of G.G. Malkhasyants (1937—2008), one of the choreographers of the sixties. The author reconstructs the ballet “Memory” — one of his early performances, staged at the Voronezh Opera

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Kasimanova, L. A., and In Boven. "Content of professional training of teacher-choreographers in China." SHS Web of Conferences 97 (2021): 01026. http://dx.doi.org/10.1051/shsconf/20219701026.

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The article is devoted to the analysis of the state of modern professional training of teachers-choreographers in China. The article presents the authors’ vision of modeling the content of modern professional training of choreographers. The analysis of the existing literature on the topic of the research made it possible to determine the tendencies and patterns of modern professional training of teachers- choreographers. Considering in the study the problems of training teachers of the artistic and creative direction, namely, teachers-choreographers, to solve professional problems, we proceed

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Pavinskaya, K. V. "COGNITIVE ASPECT OF STUDENTS-CHOREOGRAPHERS' READINESS FOR HEALTH-SAVING ACTIVITIES." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 90 (2023): 38–46. http://dx.doi.org/10.37313/2413-9645-2023-25-90-38-46.

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The article is devoted to the diagnostics of the cognitive component of the readiness of students-choreographers for health-saving activities. The purpose of the article is to assess the initial level and integrity of students-choreographers' knowledge about professional health and health-saving activities in choreography and to experimentally test the course of problematic lectures "Aspects of professional health and factors of professional ill health of choreographers" (as an interactive method of teaching students-choreographers healthy professional activities). The article reveals the inte

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TKACHENKO, M. "PEDAGOGICAL CONDITIONS OF FORMATION OF READINESS OF FUTURE CHOREOGRAPHERS FOR APPLICATION OF PROJECT TECHNOLOGIES IN PROFESSIONAL ACTIVITY." Pedagogical Sciences, no. 79 (September 19, 2022): 101–5. http://dx.doi.org/10.33989/2524-2474.2022.79.264558.

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The process of revival of spiritual and national culture puts forward new requirements for the professional training of artistic and pedagogical staff, including choreographers, the development of their professional competencies, creative abilities and the use of new technologies in teaching children and youth the art of dance. The use of project technologies as a form of organization of the educational art process helps to create conditions for self-knowledge, self-realization and reflection of students, providing opportunities to find themselves, to stand on the path of independent productiv

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Uaidullakyzy, Elmira, Negmatzhan Sh Almetov, Sholpan Zh Turdaliyeva, Akmaral B. Aitzhanova, and Gulmira M. Musakhanova. "Formation of professional mobility of future specialists in the process of choreographic education." Cypriot Journal of Educational Sciences 16, no. 4 (2021): 1680–703. http://dx.doi.org/10.18844/cjes.v16i4.6050.

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One of the main conditions for the success of students of the specialty "choreography" in the modern labor market is professional mobility. This article is therefore aims to address the problem of forming professional mobility in higher educational institutions. The essence and significance of the formation of professional mobility of students of the specialty "choreography" was determined by the methods of analysis of psychological, pedagogical, scientific-methodological and special literature. Through the analysis of educational programs of Bachelor's degree in "choreography" in higher educa

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Bigus, Olga, Oleksandr Chepalov, Iryna Herts, Liudmyla Mova, Liudmyla Khotsianovska, and Olha Babych. "Trends in the Development of Choreographic Education in Ukraine in Conditions of Digitalization: Standards, Innovative Models." Journal of Curriculum and Teaching 12, no. 5 (2023): 112. http://dx.doi.org/10.5430/jct.v12n5p112.

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The aim of this work is to analyze the trends in the development of choreographic education in Ukraine in the context of digitalization, as well as to identify standards and innovative models for further development. Scientific methods of analysis, synthesis, and deduction were used to study the mentioned problems. The results demonstrated the current standards of training of choreographers in Ukraine, the peculiarities of the implementation of digitalization, and its impact on innovative methods of teaching choreography. The importance of using the European experience in the formation of coop

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Lobo, Joseph. "Leadership Styles of Choreographers vis-à-vis Commitment of Student-Dancers across various Higher Education Institutions in Luzon, Philippine." American Journal of Arts and Human Science 1, no. 1 (2022): 11–26. https://doi.org/10.5281/zenodo.6575928.

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This study aims to determine the relationship between leadership style of choreographers and commitment of student-dancers. Respondents for the study are from different HEIs in the entire Luzon. Data gathering has been conducted through online survey using LSQ and OCQ to 105 choreographers and 228 student-dancers. Frequency, mean, sum and standard deviation were used to describe the leadership styles of choreographers and the level of commitment of student-dancers, and Pearson-r to determine the relationship between leadership style and commitment. Results found out that most of the choreograp

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Lobo, Joseph. "Leadership Styles of Choreographers Vis-A-Vis Commitment of Student-Dancers Across Various Higher Education Institutions in Luzon, Philippines." American Journal of Arts and Human Science 1, no. 1 (2022): 11–26. https://doi.org/10.54536/ajahs.v1i1.279.

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This study aims to determine the relationship between leadership style of choreographers and commitment of student-dancers. Respondents for the study are from different HEIs in the entire Luzon. Data gathering has been conducted through online survey using LSQ and OCQ to 105 choreographers and 228 student-dancers. Frequency, mean, sum and standard deviation were used to describe the leadership styles of choreographers and the level of commitment of student-dancers, and Pearson-r to determine the relationship between leadership style and commitment. Results found out that most of the choreograp

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Mansyur, Herlinda. "Dismantle Rules of Lighting In Dance Creation." Gondang: Jurnal Seni dan Budaya 6, no. 2 (2023): 337. http://dx.doi.org/10.24114/gondang.v6i2.42539.

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This research aims to provide a new discourse to the younger generation about the world of creating dance works. The field of development dance work creation has resulted in new discoveries ranging from creation methodologies to movement techniques that require dancers to improve fast. A choreographer must investigate every dance element that has been "considered" as a support in a dance performance, in addition to the body. These elements include music, clothing, make-up, lighting and artistic performances. The author, a choreographer, has created a lighting system for composing and staging t

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Pavinskaya, K. V. "METHODS OF INCREASING MOTIVATION FOR CHOREOGRAPHY LESSONS IN STUDENTS OF HIGHER EDUCATION INSTITUTIONS OF CULTURE." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 47–54. http://dx.doi.org/10.37313/2413-9645-2023-25-92-47-54.

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This article touches upon the problem of motivation for the activities of students-choreographers of universities of culture and art, without which the most effective pedagogical methods and technologies do not bring the desired result. The problem is relevant for the system of higher choreographic education. The paper considers the methods of stimulating motivation for activity, which, in the author's opinion, bring the greatest benefit in the formation of motivation for choreographic activity. The revealed methods are tested during the ascertaining and forming experiment in the system of hig

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Aldape Muñoz, Juan Manuel. "Love and Theft in Dance Economies." Performance Philosophy 8, no. 2 (2024): 223–48. http://dx.doi.org/10.21476/pp.2023.82485.

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The emergence of blockchain dance tokens is reshaping the dynamics of race in short-form dance videos within digital economies. While blockchain technologies primarily have been associated with cryptocurrencies like bitcoin, they are changing the arts sector, particularly dance and choreography. This transformation has significant implications for understanding the valorization of Black labor and aesthetics. By examining two distinct choreographic initiatives, we can grasp the profound impact of blockchain cultural production and distribution ecosystems. One example is the work of JaQuel Knigh

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Hebert, Carolyn. "Mini & Macho, Small & Sexy: The Perpetuation of Heteronormativity, Hegemonic Masculinity, and Femininity Within the Culture of Competitive (Jazz and Hip-Hop) Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 208–16. http://dx.doi.org/10.1017/cor.2016.28.

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This paper critically assesses the expectations of competitive jazz dance adjudicators and the effects of these expectations on the presentation of gendered and sexualized dance choreographies by private dance studios. Expectations for competitive dance students with regard to technical ability, execution of choreography, and age/gender (in)appropriateness are unclearly articulated by competitions and adjudicators throughout Canada and the United States. Nevertheless, parents and students enter into private dance studios with pre-conceived notions of what it takes to “win” at competition and d

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Churpita, Tetiana. "Balletmaster Activity of Mykola Trehubov in the Odessa Academic Opera and Ballet Theatre (1958-1970)." Dance Studies 3, no. 1 (2020): 36–44. https://doi.org/10.31866/2616-7646.3.1.2020.203931.

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The purpose of the article is to analyze the choreography of Mykola Trehubov at the Odessa Academic Opera and Ballet Theater. Methodology. The historical, historiographic and analytical approaches are applied. Scientific novelty. The article is the first to analyze in detail the choreographies of M. Trehubov at the Odessa Academic Opera and Ballet Theater in 1958–1970. Conclusions. The period of the chief choreographer M. Trehubov’s work at the Odessa Opera is characterized by a significant increase in ballet performances in the theater playbill, but they were n

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