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Journal articles on the topic 'Choreographic analysis'
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1
Kvetsko, Olga Ya. "Pedagogical Fundamentals of Methods of Teaching Choreographic Disciplines." Scientific Bulletin of Mukachevo State University Series “Pedagogy and Psychology” 6, no. 2 (December 28, 2020): 145–52. http://dx.doi.org/10.52534/msu-pp.6(2).2020.145-152.
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The study of art disciplines has its specific features and, in some ways, differs from other educational subjects. Choreographic disciplines are closely related to pedagogy and psychology and form an integral part of the development of the future leader of the amateur choreographic team, teacher of choreographic disciplines, choreographer, dancer. The study explores the problem of development of didactic fundamentals at teaching choreographic disciplines by means of which not only skill of future teachers, but also performing skill of dancers develops. The purpose of this study is to investigate the influence of pedagogical foundations on the process of teaching choreographic disciplines and creative choreographic work on the development of adolescents. According to the results of the study, different approaches to the problem of becoming the future leader of an amateur choreographic group, a teacher of choreographic disciplines, a choreographer, an artist of a dance ensemble are described. The study covered the essence of pedagogical fundamentals of methods of teaching choreographic disciplines that motivate students to professional self-improvement; the study also argued the need for the development of internal motivation for professional growth in future teachers of choreography. Studying the influence of creative choreographic work on the development of adolescents' personality, the results of empirical research on the relevance of the needs of students of the Professional College of Culture and Arts (city of Kalush) in professional self-improvement, motives of professional self-improvement, and analysis of professional competence. The practical significance of this study lies in the research of the fundamentals of pedagogical methods of choreographic disciplines to further improve this process, as well as to improve the skills of teachers
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Bigus, Olga, Olha Bilash, Liudmyla Vyshotravka, Liudmyla Khotsianovska, Olha Babych, and Oleksandra Hres. "The professional choreographic education: current state and development trends." LAPLAGE EM REVISTA 7, no. 3 (August 10, 2021): 42–54. http://dx.doi.org/10.24115/s2446-62202021731255p.42-54.
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The aim of the article is to highlight the features of the development of choreographic education at the beginning of the XXI century on the example of educational institutions of Great Britain and the United States, which train students in "Choreography" specialties. Methods: analysis, synthesis, induction, deduction, observation, description, tabular and graphical representation, comparison, systematization, questionnaire survey, hypothesis, abstraction and generalization. It was established that the development of choreographic education in the beginning of the XXI century is characterized by an annual increase in the number of students being trained as choreographers, choreographic education support by the universities, positive changes after the introduction of support measures for the development of choreographic education, increase in the level of encouragement for students to study the profession of choreographer, usage of modern ICT.
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Oleneva, A. V., and I. A. Stepanik. "BREATHING EXERCISES IN CHOREOGRAPHIC EDUCATION." Pedagogical IMAGE 14, no. 4 (2020): 696–708. http://dx.doi.org/10.32343/2409-5052-2020-14-4-696-708.
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Introduction. The paper emphasizes the importance of work on breathing in professional choreographic education. The distinguishing features of breathing in choreography are presented. The study involves an analysis of various breathing techniques (yoga, pilates, Strelnikova gymnastics, and others), their compliance with the choreographic art requirements, and adaptability to professional choreographic education. Materials and methods. The analysis has been used to compile a set of breathing exercises corresponding to the classical dance requirements. The 5-month practice at the choreographic vocational school has been described. Results: Main physiological indicators of the respiratory system of 5th-grade students before and after daily breathing exercises have been compared. Conclusions: The findings suggest that the discussed experimental gymnastics can be used for professional choreographic education. Keywords: choreography breathing, breathing gymnastics, breathing exercises, choreography education, classical dance, ballet dancer, aerobic stamina, development of respiratory system.
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Rallis, Ioannis, Eftychios Protopapadakis, Athanasios Voulodimos, Nikolaos Doulamis, Anastasios Doulamis, and Georgios Bardis. "Choreographic Pattern Analysis from Heterogeneous Motion Capture Systems Using Dynamic Time Warping." Technologies 7, no. 3 (August 16, 2019): 56. http://dx.doi.org/10.3390/technologies7030056.
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The convention for the safeguarding of Intangible Cultural Heritage (ICH) by UNESCO highlights the equal importance of intangible elements of cultural heritage to tangible ones. One of the most important domains of ICH is folkloric dances. A dance choreography is a time-varying 3D process (4D modelling), which includes dynamic co-interactions among different actors, emotional and style attributes, and supplementary elements, such as music tempo and costumes. Presently, research focuses on the use of depth acquisition sensors, to handle kinesiology issues. The extraction of skeleton data, in real time, contains a significant amount of information (data and metadata), allowing for various choreography-based analytics. In this paper, a trajectory interpretation method for Greek folkloric dances is presented. We focus on matching trajectories’ patterns, existing in a choreographic database, to new ones originating from different sensor types such as VICON and Kinect II. Then, a Dynamic Time Warping (DTW) algorithm is proposed to find out similarities/dissimilarities among the choreographic trajectories. The goal is to evaluate the performance of the low-cost Kinect II sensor for dance choreography compared to the accurate but of high-cost VICON-based choreographies. Experimental results on real-life dances are carried out to show the effectiveness of the proposed DTW methodology and the ability of Kinect II to localize dances in 3D space.
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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 (August 31, 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 educational institutions, new opportunities and content for the formation of professional mobility of future choreographers are identified. With the help of systematization and evaluation methods, the results of improving the formation of professional mobility of students studying in the educational programs "choreography" were summed up. It was concluded that the formation of professional mobility of future choreographers should be a purposeful and systematic process, covering all stages of students' assimilation of educational programs, and must be guided by the achievement of high indicators of the formation of professional mobility.
Keywords: choreographic education, future choreographer, professional mobility, University, content of choreographic education, formation of professional mobility
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Boldyreva, Vera, Aleksandr Keyno, and Mikhail Bogdanov. "Elements usage of jazz gymnastics in the choreographic training of 12–14 years old “rhythmic” gymnasts." Tambov University Review. Series: Humanities, no. 183 (2019): 112–17. http://dx.doi.org/10.20310/1810-0201-2019-24-183-112-117.
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The Russian school of gymnastics is distinguished by the high performing skills of female athletes, a wide range of styles, the composition integrity, which is achieved with the help of choreographic training. The concept of “choreography” includes everything that relates to the art of classical, folk, historical and everyday, modern dance. Choreographic training in gymnastics is understood as a system of exercises and influence methods aimed at nurturing the motor culture of the gymnasts, at expanding their arsenal of expressive means. In addition, when practicing chore-ography, flexibility and coordination of movements develops, strengthens the musculoskeletal system, increases the density of the workout, which has a positive effect on the cardiovascular and respiratory systems of the body, contributes to the development of special endurance. Along with this, choreography lessons solve technical training problems: mastering various elements and combinations, an individual image in the composition. To create an image, expressiveness is in-dispensable, which is inextricably linked with the beauty of the movements, grace, dancing character, etc. A choreographer in rhythmic gymnastics has to work with a constant shortage of time, since choreographic training is only part of the training process. This time is not enough for the full development of the “rhythmic” gymnasts’ choreography. A characteristic feature of training in jazz gymnastics is the performing of exercises that fully activate the body’s motor system, with the participation of the greatest possible number of muscle groups. Also for those engaged in jazz gymnastics is characteristic dynamism, expression, together with wide and smooth movements. The nature of the movements is expressive. All this contributes to the development of “rhythmic” gymnasts’ choreography. Analysis of scientific literature and practical experience indicates the lack of jazz gymnastics use in the choreographic training of “rhythmic” gymnasts. Our research is related to the development of this particular direction, which determines its relevance.
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Leon, Anna. "Between and within choreographies: An early choreographic object by William Forsythe." Dance Articulated 6, no. 1 (June 24, 2020): 64–88. http://dx.doi.org/10.5324/da.v6i1.3639.
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In 1990, William Forsythe created The Books of Groningen – Book N(7), an installation commissioned by the Dutch city of Groningen and architect Daniel Libeskind. This early choreographic object is composed of a water canal, a series of willow trees pulled by wires in order to grow in arched shape and a bush hedge. At a time of marked interest in expanded choreography as it develops in conjunction with choreography’s links to visual art, as well as in choreographic history, this article considers Book N(7) in relation with diverse historical conceptions of choreography – as dance-making, as an organisation of moving bodies, as notation and pre/scription. This analysis shows that the installation negates certain aspects of choreographic history while exemplifying and perpetuating others, therefore situating itself between different historical construals of choreography. At the same time, it points to the ways in which Book N(7) defies the possibility both of complete ruptures and of smooth continuities with the choreographic past, engaging in a negotiation which reworks this past in the present. Framing this analysis of The Books of Groningen – Book N(7) by references to certain of Forsythe’s ulterior works, this article presents the installation as a part of the artist’s longlasting, shifting engagements with the notion and history of choreography.
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Todi, Cristina. "The Analysis of Choreographic Concept in Merce Cunningham’s Creation." Theatrical Colloquia 10, no. 1 (May 1, 2020): 117–34. http://dx.doi.org/10.2478/tco-2020-0008.
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AbstractThrough this I intend to bring again to the attention of practitioners of stage, musical, choreographic and theatrical arts, Merce Cunningham’s contribution to the development of modern choreography. The constant searches of yesterday, today and tomorrow’s artists is and will be a priority for those who want to bring something new and revolutionize art. Today, we distinguish distinctly the phenomenon of transgression of borders between the stage genres, especially between theater, music and choreography. Choreography migrates towards theater and music and theater and music strongly infiltrate into choreography. This emulation intends to create a total show but can still give birth to some artistic experiments where the accent is placed on the very visual interpretation with an excess of body movement and with an acute absence of Thalia’s simple and natural truths. Cunningham’s proposal on the way of assuming the body, the space and the rhythm is another challenge for today’s choreographers. The way of using these aspects and of acknowledging the strange infinity of its possibilities of transcending the communication barriers, reconfigures the body of the dancer as a linguistic entity with values still unexploited. Initiator of the choreographic modernism, Merce Cunningham is still nowadays an important reference for young choreographers.
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Borуsova, Yuliia, Oleksii Horpynich, and Oleksandr Didkovskyi. "Choreography as a means of increasing the level of technical training of gymnasts 6-7 years." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 1(129) (January 27, 2021): 14–18. http://dx.doi.org/10.31392/npu-nc.series15.2021.1(129).03.
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Choreography in sports has long been established as a means of specialized training of high-class athletes, which helps to make compositions more vivid, original, expressive, spectacular. Thanks to the means of choreography, you can watch the wonderful, diverse performances of gymnasts, where for each athlete selected styles and nationalities, based on their physical characteristics and temperament. Therefore, the team work of a coach and choreographer is very important. The purpose of the work - to determine the effectiveness of choreography lessons in the training process of gymnasts 6-7 years. Research methods: analysis of scientific and methodical literature; pedagogical observation and experiment; testing; methods of mathematical statistics. Organization of the study. The research was conducted in SDYUSHOR DOO FST "Ukraine" on rhythmic gymnastics. The study involved 20 girls 6-7 years old, who attended sports school 5 times a week for 135 minutes. Research results. Based on the results of testing the initial level of choreographic training of gymnasts 6-7 years old, we can say that the level of choreographic training in both groups is almost the same and is insufficient for further sports improvement, so we have developed and implemented choreography lessons. The lesson consists of a classical exercise, in which the basic technique of dance skill is practiced. When studying choreography develops inversion, flexibility, coordination, stability, easy high jump; the correct posture is made; the musculoskeletal system is strengthened, and also culture of movements and ability to think creatively is formed. At the end of the experiment, retesting was performed, which showed that the level of choreographic preparation of the control group, which was engaged in the usual schedule, without the use of choreography lessons, almost did not change and only 2 exercises were performed at a high level. Meanwhile, in the experimental group, which was engaged in the developed methodology, there have been significant changes. All 10 exercises were demonstrated by gymnasts at high and above average levels. Prospects for further research. Development of choreography complexes for gymnasts 6-7 years old using objects for rhythmic gymnastics.
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Syvokon, Yuriy. "THEORETICAL ASPECTS OF MODERN TEACHING OF CLASSICAL DANCE IN HIGHER EDUCATIONAL PEDAGOGICAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 201–5. http://dx.doi.org/10.36550/2415-7988-2021-1-195-201-205.
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The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important condition for the formation of the pedagogical competence of future graduates. The main methodological setting of the research is the presentation of modern practice of choreographic education and teaching classical dance as a system in which all elements are conditioned and subordinated to performing and pedagogical tasks. The relevance of studying the methods of teaching classical dance in higher educational institution is determined by the conditions of the modern stage, which is characterized by the introduction of educational standards as an expected result of the quality of training of future choreographers; expansion of the nomenclature of profiles and directions of choreographic training; introduction of professional standards for teachers in the field of choreographic art. Classical dance at all stages of formation and development of choreographic education in universities is the foundation of training future professionals in the field of dance, a discipline that forms the performing practical skills and abilities of the dancer; «Lexical» basis of the future choreographer-producer, creator of choreographic combinations, sketches, compositions and performances; scientific and theoretical foundation of methods of teaching choreographic disciplines. The possibility of successful implementation of tasks in accordance with the requirements of modern educational standards of training students-choreographers in higher education is due, inter alia, reliance on internal prerequisites for development, which are determined by historical traditions of teaching classical dance methods A. Ya. Vaganova. XX – early XXI century. researchers stand out as the most important in the development of classical dance.
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Blahova, Tetiana. "CHOREOGRAPHIC AMATEURS IN THE STRUCTURE OF NON-FORMAL ART EDUCATION: HISTORICAL AND PEDAGOGICAL DISCOURSE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 604. http://dx.doi.org/10.17770/sie2020vol5.4977.
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Development dynamics of choreographic amateur as a phenomenon of creative activity in the structure of non-formal art education is investigated in the article. The main stages of becoming a choreographic amateur in Ukraine in the context of socio-political and cultural-artistic determinants are characterized. It has been found that during the XX century choreographic activity as a component of non-formal art education had passed a difficult and contradictory path from the experiments of dance studios and the search for “Soviet dance” to the creation of groups, ensembles, creative associations, and later the appearance of amateur dancers of various genres of choreographic performances. Choreographic performance was actively implemented in the permanent and temporary forms of organization that brought together different social groups. The study analyzes the content of choreographic training in the activities of dance groups in different cultural and educational locations at different stages of historical development. The actual perspective of the development of theoretical studies in the field of choreographic education is the understanding of pedagogical resources of amateur choreography, the analysis of its strategies, meaningful content in various forms of organization.
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Stevens, Catherine, Stephen Malloch, Shirley McKechnie, and Nicole Steven. "Choreographic Cognition." Pragmatics and Cognition 11, no. 2 (December 31, 2003): 297–326. http://dx.doi.org/10.1075/pc.11.2.06ste.
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The process of inception, development and refinement during the creation of a new dance work is described and explored. The account is based on annotated video of the professional choreographer and dancers as they create and sequence new movement material, as well as weekly journal entries made by one of the dancers. A 24-week chronology is reported. We analyse the choreographic process using the Geneplore model of creative cognition as an organising framework and identify generative and exploratory processes including problem finding and problem solving, metaphorical thinking, non-linear composition, and multi-modal imagery. An analytical tool adapted from the discipline of music analysis is used to explore relationships between recurring themes and visual, visceral, spatial and tactile images. Ideas for experimental work relating to choreographic cognition are discussed.
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Bidyuk, Dmytro. "Professional Training of Choreography Students in European Universities." Comparative Professional Pedagogy 8, no. 4 (December 1, 2018): 39–46. http://dx.doi.org/10.2478/rpp-2018-0052.
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Abstract The article deals with the analysis of professional training of choreography students in European universities. It is indicated that choreography education is a certain system of dancing training, which cultivates students’ artistic, physical and technical skills necessary for the dancing profession, as well as develops their special knowledge. It is found that an indispensable component of learning is character and national dance. It is specified that the prospects of using foreign experience to modernize choreography education include different levels, namely the European level (an intensification of cooperation with international educational organizations, promotion of intercultural education and international relations through participation in cultural exchange programmes and international dance competitions and festivals), the national level (elaboration of appropriate legal and regulatory acts, design of national cultural and educational programmes for developing choreographic culture, introduction of new models of choreography training (theater dance, choreotherapy, modern dance), formulation of modern requirements for future specialists, allocation of budget on choreography development), the institutional level (administrative support of international scientific projects, introduction of appropriate strategies for developing choreographic industry, introduction of new courses, modernization of existing training programmes, introduction of innovative choreographic training programmes, creation of special programmes for students with special educational needs, Europeasation of lecture content, introduction of innovative elective modules at departments of choreography, organization of international workshops).
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Sarkar, Kaustavi. "De-centring the choreographer: Historically inspired interruptions/disruptions in an exploration between sculpture and movement1." Choreographic Practices 10, no. 2 (December 1, 2019): 269–91. http://dx.doi.org/10.1386/chor_00007_1.
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Abstract This article reflects the process of choreographic making where the choreographer actively decentres her choreographic choices by collaborating with participating dancers and historical inspirations. It explores the creative potential of archives ‐ a set of temple-sculptures found in eastern India called the Alasa-Kanyas (meaning indolent maidens) ‐ as past evidence of historically marginalized bodies of the temple-dancers, also known as Maharis, in the field of the eastern Indian classical dance form called Odissi. Alasa-Kanya: Sculpture in Odissi (AK), a Practice as Research (PaR) experiment, imbricates the historical and the theoretical in choreographic practice, re-inscribing the archival traces of the Mahari as found in the sculptural traces of the Alasa-Kanyas by an inculcated deconstruction of Odissi dance vocabulary. According to philosopher Jacques Derrida, deconstruction destabilizes the hierarchy between the centres and margins of a given area of knowledge. This experiment questions the hierarchical construction of Odissi dance as technically elevated than Mahari performance. Theoretical deconstruction is complemented by an embodied investigation via structured studio improvisations using the Creative Articulations Process (CAP). Choreographic process and analysis of AK deconstructs the technicity in Odissi movement via engaging with the Alasa-Kanyas or the sculptural archives of the Maharis in Indian temples. In this way, the once marginalized interrupts the dominant historical narratives and disrupts the patriarchal construction of a male centre, in turn questioning the agency of the choreographer in the choreographic process.
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Сергій Твердохліб. "INTEGRATION OF DIFFERENT ART TYPES IN THE PROCESS OF FORMATION OF FUTURE TEACHERS OF CHOREOGRAPHY INTERPRETATION COMPETENCE." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (September 4, 2020): 52–60. http://dx.doi.org/10.31499/2307-4906.4.2020.224094.
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The aim of the article is to actualize the integration of different arts in the process of forming the interpretive competence of future teachers of choreography, based on the functional model of art, namely its hedonistic, aesthetic, cognitive, educational, social-transforming and information-communicative functions. The process of interpretation of the artistʼs creative concept in the plane of choreographic art is determined by the ability of the teacher-choreographer to integrate the universal artistic heritage. At the heart of any movement there is always a relationship with the musical accompaniment, which is due to the synthesis of the concept of composer and choreographer. In turn, due to the general canons of world art, each choreographic pose gives a stylistic color to the composition. The design of scenery and costumes is based on the tendencies of artistic creativity, and drama is based on the functional canons of the theatrical act.The methodology of integration of different types of arts in the process of professional training is based on the syntheticity of the categorical apparatus of art and the sensualism of human perception. The process of integration is considered in terms of the application of pedagogical principles and methods of synthesis of universal cultural heritage. The article presents an analysis of the scientific literature on the definition of “integration”, “integration classes”, pedagogical principles of “integration of different arts in the process of professional training”. It is proved that the integration of musical, artistic and theatrical arts plays a crucial role in the process of forming the interpretive competence of future teachers of choreography and determines the positive dynamics of the development of creative abilities.
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Jordan, Stephanie. "Agon: A Musical/Choreographic Analysis." Dance Research Journal 25, no. 2 (1993): 1. http://dx.doi.org/10.2307/1478549.
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Khokhlova, Daria. "The character of Levin in the ballet “Anna Karenina” choreographed by John Neumeier Anna Karenina: the peculiarities of choreographic interpretation." Философия и культура, no. 6 (June 2021): 1–14. http://dx.doi.org/10.7256/2454-0757.2021.6.36354.
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The problem of choreographic interpretation of the novel “Anna Karenina” by L. Tolstoy in the modern ballet theater is relevant: in the past twenty years, several outstanding choreographers have selected this theme for their performance. The subject of this article is the interpretation of the character of Levin by John Neumeier. The goal consists in revealing the expressive elements and peculiarities of choreographic language used by the ballet master in staging this role, as well as in juxtaposing them with the original literary text. The article employs comparative and analytical methods, overt observation (in the process of working with Neumeier on the role of Kitty), Neumeier's lectures prior to the Moscow premiere of “Anna Karenina” (from the author's archive), and materials from video archives of the theatre. Detailed semantic analysis of stage direction and choreographic language of the role of Levin became the basic instrument for determining the traits of Tolstoy’s hero, which Neumeier derived from the literary source. Tolstoy’s reasoning on the topics that require in-depth philosophical reflection, which were inscribed into the artistic fabric of the novel, are instilled in the role of Levin. Creating the choreographic interpretation of this character, Neumeier did not pursue the original verbatim. However, the choreographer strongly emphasizes the difference between Levin and other characters. Determination of the staging techniques used for this purpose define the novelty of the research results, which can be applied in the further study of Neumeier's works. This includes explicit monologue, Stevens' songs as musical background, bare feet of the dancer, series of symbolic leitmotivs of bodily movements, arbitrary bodily movements that resemble improvisation, usage of costume details. Levin's monologues represent a performance within a performance, philosophical-symbolic choreographic meditation that is not connected with the overall plotline. Such solution, despite all apparent differences, conceptually brings together the choreographed character of Levin and the original text. Interpretation of this role is one of the key components in interpretation of L. Tolstoy's novel by J. Neumeier, which encompasses the author’s innovative staging solutions.
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Kondratenko, Yurii A., and Elena N. Antipkina. "Actualization of traditional art practices in contemporary art of Mordovia (in the context of creating choreographic suites)." Finno-Ugric World 12, no. 3 (October 26, 2020): 314–24. http://dx.doi.org/10.15507/2076-2577.012.2020.03.314-324.
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Introduction. Among the processes that are clearly traced in the modern artistic practices of Mordovia, there is one that draws particular attention – the desire to comprehend folk art in a new way, to actualize the traditional layers of culture within the framework of neo-traditional forms of contemporary art. A folk dance is an example of one of the directions of modern choreography. The purpose of the article is to review the experience of creating choreographic suites in modern dance in Mordovia, based on traditional folklore. This allows studying the techniques of citing traditional forms of folk art in contemporary art and the ways of their actualization. Materials and Methods. As the main material for studying, this study analyzed the performances of choreographers of Mordovia, working with such modern dance as choreographic suites «Girl-birch» and «Eight Mordovian songs». It was possible to formulate answers to the research tasks as a result of the application of a systematic analysis of sources on this topic, as well as carrying out a comparative analysis of the compositional structures of these choreographic suites, the specific features of the construction of their choreographic texts and work with musical material. Results and Discussion. The actualization of traditional artistic practices in contemporary art is an experiment and constant search for new ways of expression. Within the framework of one of the neo-traditionalist trends in contemporary art, folk dance, one can observe the way how traditional values are rethought and considered as relevant now, thereby the past becomes part of the modern way of life. In this context, the analysis of the search for a new way of expression within the framework of the suite form is of particular interest. As a result of the analysis of the compositional forms of modern choreographic performances in Mordovia, it revealed two trends in the development of the form of a choreographic suite: a movement along the path of creating a production with non-classical content on the basis of the classical suite structure and an appeal to traditional compositional forms of folk art and filling them with relevant content. Conclusion. The neo-traditional trend in art is based on the idea that tradition is not only the past of the people, it also exists here and now, our actual present. With the advent of the folk direction in modern choreography, the search for such an actual true tradition has become a unique feature of modern dance in Mordovia. Within the framework of this article, some ways of the development of folk direction were noted, associated with experiments in relation to the form of a choreographic suite and the main trends in the search for the development of the dance form were outlined.
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Shinzhina, Aiana Ivanovna. "Altai National Dance Theater “Altam” as a laboratory of practical implementation of the results of research work on studying traditional culture of the Altai people." Культура и искусство, no. 2 (February 2021): 65–79. http://dx.doi.org/10.7256/2454-0625.2021.2.34621.
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The subject of this research is the analysis of choreographic art of the Altai Republic in the context of reconstruction of the concepts of traditional culture of the Altai people on the example of the State National Dance Theater “Altam”. Relevance of the selected topic lies in the fact that Altai dance is studied virtually for the first time. The article reviews the traditional culture of the Altai people, namely dance culture. The goal is to examine Altai dance as an independent form of choreographic art in reconstruction of the artistic stage imagery. The theoretical and practical significance consists in proving the relevance of analysis of the activity of the Altai Dance Theater “Altam” as a laboratory of practical implementation of the results of research work on studying traditional culture of the Altai people. The acquired results on the development of choreographic art in the Altai Republic give a better perspective on the artistic-imagery structure of stage performance. The methodological framework is based on the art, historical, and comparative methods that allows clarifying the specificity of development of the Altai folk choreography in the context of ethnic theatrical art, as well as revealing the peculiarities of such organics in creating the artistic-imagery structure of stage performance. Scientific novelty lies in the attempt to generalize and analyze the sources for studying the Altai dance. The author traces the evolution of the national choreographic art, beginning with the folklore origins. The article introduces into the scientific discourse the factual material, such as examination of dance elements in petroglyphs, folk epic tales, folklore, cultural rites, folk games and songs. The author observes the transformation of the indicated range of sources in various genres of national choreography. The analysis of ethnic creativity of the Altai National Dance Theater “Altam” demonstrates that for many years Altai dance integrates the typical for Altai people motions, poses, gestures, substantiated by ethno-genetic identification. The article directly connects the traditional Altai dance and formation of the Altai folk stage dance for the purpose of establishment and development of the professional choreographic art of the Altai people.
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Fedorchenko, D. "Evolution of waltz in the European ball culture." Culture of Ukraine, no. 72 (June 23, 2021): 34–38. http://dx.doi.org/10.31516/2410-5325.072.05.
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Problem statement. One of the most popular dance forms of the past centuries was exquisite, soft and smooth waltz which can be called a bright phenomenon of the world choreographic art. However, the scientific and theoretical part of this choreographic art remains quite unstudied.
The purpose of the article is to reveal the sources of formation and evolution of various kinds of waltz in the European program of ballroom dance.
The methodology. The methods used in this article are the following: 1) historical methods that allow to place the chosen work into the perspective of ballroom choreography development; 2) classifications and systematizations that allow to conduct the analysis of how various kinds of waltz formed; 3) stylistic methods used for studying the given form of ballroom dance in the context of the choreographic art.
The results. The history of waltz formation goes back to those times when dance was not just a great art but also a part of the compulsory program of high life education. Waltz received an immense impulse around 1830 owing to two outstanding composers — Franz Lanner and Johann Strauss.
In the modern period of ballroom dance development there are plenty of waltz forms: slow waltz, Viennese waltz, figured waltz, boston, classical waltz and tango-waltz.
The modern European program (Standard) of ballroom dance includes two waltzes: slow and Viennese. Slow waltz opens the program for both adults and professionals, this waltz is a sort of visiting card of a couple in ballroom choreography. From the first movements of a couple one can understand the level of their mastery which includes: rhythmicity, musicality, skills of couple holds and constant moving around the floor while performing complex techniques. In Viennese waltz fast pace is added, which requires good physical training from the performers.
Despite the essential changes in the structure of waltz vocabulary, nowadays this ballroom dance is positioned as a developed form that functions according to the general form-creating laws of ballroom choreography: the variability of the dancing performance technique, the compositional structure of the pattern, the specific characteristics of the choreographic vocabulary, the peculiarity of the musical structure. Given the development of modern ballroom choreography, waltz is the most spectacular dance of the choreographic art and the integral part of the development of society culture.
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Khokhlova, Daria. "To the question of choreographic interpretation of male images of W. Shakespeare’s drama of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon." Культура и искусство, no. 10 (October 2020): 1–16. http://dx.doi.org/10.7256/2454-0625.2020.10.33879.
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The subject of this article is the interpretation of male images from W. Shakespeare’s “The Winter’s Tale” by the choreographer C. Wheeldon in the context of its conceptual commonality with the literary original. The goal of this research is to determine the stage means and elements of choreographic language used by the choreographer for creation of male roles, as well as to draw ideological-imagery parallels with the original text. Methodological foundation of this study features the principles of critical analysis of text of the play along with the semantic analysis of choreography, developed in the scientific works of such theoreticians of ballet art as Lopukhov, Dobrovolskaya, Krasovskaya, Surits, Slonimsky. Comprehensive approach towards interpretation of the literary original on the modern ballet stage required the analysis of such sources, as the English-language peer reviews of the world premiere of the ballet and video materials from the archives of the Royal Opera House in London and the Bolshoi Theater in Moscow. The author also applied the method of overt observation based on the personal experience of working with Wheeldon in Bolshoi Theatre, and accompanied by the analysis of rehearsals from the author's archive (over the period from March to April 2019). The author carried out a detailed semantic analysis of the stage interpretation and choreographic language of the male images of W. Shakespeare's play of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon (which served as the key instrument for this research). The conclusion is made that the conceptual ground of Wheeldon’s interpretation of the male images is based on the Shakespeare’s text adapted to the realities of a stage performance. He employs a wide array of plasticity and other innovative means of expression, applying an individual approach towards staging each male role.
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Narskiy, I. V. "FICTION IN "AUTHENTICITY" SUBSTANTIATION: HOW THE SOVIET CHOREOGRAPHERS SUBSTANTIATED FOLK CHARACTER OF THEIR WORKS." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 61–67. http://dx.doi.org/10.17721/ucs.2019.1(4).12.
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Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreog- raphers’ "ethnographic expeditions" down the country and their desire to "learn from the people" dance technique. Why did "field collection" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the invention? In the article subsequent steps are undertaken to answer these questions. Firstly, the place of amateur dance art performance in the official soviet culture and the specialists’ role of choreographic business in its development are out- lined. Secondly, there is an explanation of reasons of author’s doubts in authenticity of soviet choreographers’ numerous stories about "going to the people". Thirdly, the art of dancing soviet experts’ motives, that frequently inspired them to the fictional stories about the collection of choreographic folklore are explained. Therefore, it makes an attempt to renew folk dance soviet specialists’ logic of notion about the subject of their passion, liking and professional activities. In the issue the author comes to the conclusion that ritualized stories about the analysis of folk sources by choreographer-directors were the significant argument in corroboration of "folk roots" of the soviet choreographic creative work. As the result, in the soviet discourse of folk dance the stories about choreographic "going to the people" paradoxically made instrumentalization of fiction in substantiation of "authenticity".
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Schwall, Elizabeth. "Sweeping gestures: Alberto Alonso and the revolutionary musical in Cuba." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 37–51. http://dx.doi.org/10.1386/smt.13.1.37_1.
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This article examines Cuban choreographer Alberto Alonso and his dance contributions to Cuban musical theatre from the 1940s through the early 1960s. The analysis integrates the histories of Alonso’s training, performance career and choreographic output with developments in Cuban musical theatre before and after the 1959 Cuban Revolution. In particular, it focuses on Alonso’s 1964 ballet El Solar (The Slum), which became a 1965 musical film Un día en el solar (A Day in the Slum) and live musical Mi Solar (My Slum). I argue that Alonso subtly questioned officialdom with his musical choreography that showed revolutionary movements springing not from the state but from Cuban citizens of different racial backgrounds as they enacted the chores and delights of life. Moreover, Alonso’s work challenged cultural hierarchies, which held so-called high art forms like ballet above popular dance, by emphasizing the endless creativity of Cubans moving through their everyday.
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Yakymchuk, Olena, Natalia Utesheva, and Oleksandr Somyk. "THE PECULIARITIES OF TEACHING PERFORMING MUSIC COURSES TO STUDENTS OR CHOREOGRAPHY IN THE PROCESS OF THEIR PROFESSIONAL TRAINING." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 149–54. http://dx.doi.org/10.36550/2415-7988-2021-1-195-149-154.
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This article presents an analysis of the peculiarities of teaching performing music courses such as «orchestration tutorial» and «orchestral conducting» to students or choreography in the process of their professional training. The educational potential of these courses is shown to facilitate the development of professional qualities in a future choreography teacher. The research also focused on the psychological and pedagogical conditions of a successful pedagogical collaboration of the music teacher and a student of choreography. This study is aimed to contribute to the development of a new course of «Choreography» at the faculties specializing in art at state pedagogical universities of the country providing the modern teaching practice with an academic base in terms of the peculiarities of teaching performing music courses to students of choreography. teaching music and performance disciplines to students-choreographers has a problem-searching nature. This strengthens the subject-subject nature of the relationship between teacher and student, expands the possibilities of their creative interaction in classes on orchestral workshops and workshops on orchestral conducting. Successful interaction of a teacher-musician with a student-choreographer in the process of studying the laws of musical art and the basics of musical performance helps to stimulate interest in learning the latter, motivating the future of complex musical and choreographic activities in secondary school (performing, educational, creative or cognitive). on the formation of his personal qualities, professional skills, abilities, disclosure and realization of his creative potential. Psychological and pedagogical prerequisites for successful pedagogical interaction of a musician-teacher with a student-choreographer are provided by personality-oriented, competence and integration approaches of modern educational strategies.
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Todorova, Valentyna, Boris Dolinsky, and Tetiana Pasichna. "IMPROVING THE CONTENT OF CHOREOGRAPHIC TRAINING IN SPORTS AEROBICS AT THE STAGE OF SPECIALIZED BASIC TRAINING." Science and Education 2020, no. 1 (May 2020): 60–65. http://dx.doi.org/10.24195/2414-4665-2020-1-9.
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The study identified areas for improvement of choreographic training in sports aerobics. The aim is to increase the effectiveness of choreographic training in sports aerobics at the stage of specialized basic training. The theoretical analysis and generalization of data of scientific, methodical and special literature, documentary materials, pedagogical observations, surveys have been used in the study. The analysis of the obtained data made it possible to outline areas for improving the content of choreographic training at the stage of specialized basic training in sports aerobics: creating the latest methods of choreographic training, improving regulations, taking into account the specifics and trends of sports aerobics in choreographic training software; development of a control system for choreographic readiness; improvement of means of education of expressiveness, improvement of compositions of competitive programs. The content of choreographic training of athletes at the stage of specialized basic training in sports aerobics, which selected tools and methods to improve the choreographic training of athletes aged 15-17 years in accordance with modern requirements of the sport has been improved. The optimal amount of load has been set; means of education of expressiveness and a technique of perfection of competitive compositions have been introduced, means and methods of control of choreographic readiness of sportsmen have been developed.
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Khokhlova, Daria. "Scenography of John Neumeier’s ballet “Anna Karenina”: artistic aspects of the authorial Interpretation of the literary source." Человек и культура, no. 4 (April 2021): 47–58. http://dx.doi.org/10.25136/2409-8744.2021.4.36233.
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The subject of this article is the artistic and staging solutions applied by John Neumeier in choreographing the ballet “Anna Karenina”. Their determination and analysis is carried out in order to reveal the semantic dominants in interpretation of L. Tolstoy's plotline and understand the ideological intention of the author, who is both a choreographer and a production designer. The research is based on the comprehensive approach. Using semantic analysis of the ballet, the author was leaning on the principles developed by theoreticians and historians of the choreographic theater – Dobrovolskaya, Krasovskaya, Lopukhov, Suriz. In the course of historiographical analysis, were used the lectures given by Neumeier prior to the Moscow premiere of “Anna Karenina”. The article also contains video materials from the archives of Hamburg “Ballettzentrum” and Moscow Bolshoi Theater. The method of overt observation (based on the personal experience of working with Neumeier on the role of Kitty) was also applied. Neumeier saturates the minimalistic and easily transformable design of the ballet with symbolic images (chair, bag, door, steam locomotive), as well as uses staging techniques such as layering of scenes and change of scenery in motion, exposure of the structure of decorations, creation of several scenic plans, use of videography. Detailed semantic analysis of scenography, which became the key research instrument, allows concluding that in his choreographic interpretation of L/ Tolstoy's novel, Neumeier actively uses staging techniques characteristic to drama theater, broadening the range of scenographic solutions for the ballet performance. The author was able to determine and decode the symbolism of the original expressive elements and images by in-depth analysis of the ideological concept of the performance.
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Todorova, Valentyna, Olha Bondarenko, Marina Fidirko, Tetiana Pasichna, and Hanna Titova. "IMPROVEMENT OF THE CONTENT OF CHOREOGRAPHIC TRAINING OF HIGHLY QUALIFIED ATHLETES IN AEROBIC GYMNASTICS." Science and Education 2021, no. 2 (June 2021): 41–47. http://dx.doi.org/10.24195/2414-4665-2021-2-6.
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The study identified areas for improvement of choreographic training in aerobic gymnastics. Improving the structure and content of choreographic training of athletes in aerobic gymnastics remains one of the central problems of the theory and methods of training athletes. The current level of world achievements in this sport, the growth of its popularity and the expansion of the geography of competitions requires the search for new scientifically sound, effective methods of choreographic training that meet modern trends in sports. One of the ways to improve the methodology of choreographic training in aerobic gymnastics should be intensified work on the technique of performing elements inherent in the sport, as well as choreographic movements. For this purpose, it is necessary to improve the program material on choreographic training, to systematize it according to modern tendencies of development of aerobic gymnastics, and also to adapt to a stage of preparation of the highest achievements of athletes. The article is aimed to increase the effectiveness of choreographic training in aerobic gymnastics at the stage of preparation for higher achievements. Materials and methods: theoretical analysis and generalization of data of scientific, methodical and special literature, documentary materials. The analysis of the data allowed to outline areas for improving the content of choreographic training at the stage of preparation for higher achievements in aerobic gymnastics: creating the latest methods of choreographic training, improving regulations, taking into account the specifics and trends of aerobic gymnastics in software development of choreographic training; development of a control system for choreographic training; improvement of means of education of expressiveness, improvement of compositions of competitive programs. The content of choreographic training of athletes at the stage of preparation for higher achievements in aerobic gymnastics has been improved, in which means and methods of improving choreographic training in accordance with modern requirements of the sport have been selected, the optimal amount of load has been established; means of education of expressiveness and a technique of perfection of competitive compositions have been introduced, means and methods of control of choreographic readiness of athletes have been developed.
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Robb, Hamish J. "Looking Beyond Facile Understandings of ‘Literalness’ in Music–Dance Collaborations: Mark Morris's All Fours." Dance Research 30, no. 2 (November 2012): 126–46. http://dx.doi.org/10.3366/drs.2012.0043.
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Notions of ‘visualisation’ or ‘literalness’ in discussions of dance-music collaborations mistakenly imply that dance is able to map completely onto music, and that such dancing says nothing new. Given the complexities involved in meaning formation through gesture, there is an endless number of ways to sympathetically choreograph the same musical phrase, just as there are numerous ways to interpret a single physical gesture. Through an analysis of Mark Morris's All Fours, a choreography set to Bartók's Fourth String Quartet, I offer an opposing view to those detractors of Morris who claim that his work is ‘overly literal’. I argue that Morris's sensitive choreography provides us with the missing link between the characters and emotions projected through Bartók's music on the one hand, and the very precise and less audible compositional techniques on the other. Furthermore, I demonstrate how Morris's carefully planned choreographic choices, repetitive mappings, and gestural tropes (the juxtaposition of two seemingly contradictory gestures) provide the means for highly imaginative and complex narratives, one of which I offer here. Thus, I illustrate how dance gestures that may initially seem to simply ‘mimic’ the music actually perform larger roles in the formation of networks of meaning.
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TKACHENKO, IRYNA, ELENA YENSKAYA, and ANATOLY MAKSIMENKO. "APPLICATION OF INNOVATIVE TECHNOLOGIES IN PRACTICAL WORK WITH FUTURE CHOREOGRAPHY SPECIALISTS." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy, no. 2 (April 6, 2021): 94–102. http://dx.doi.org/10.25128/2415-3605.20.2.13.
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The expediency of innovative technologies application in practical work with future choreography specialists in higher education institutions has been substantiated. It has been established that the value of innovative technologies implies the unleashing of the future choreographers’ creative potential, formation of a stable motivation to learn, ensuring a high creative result in the educational process. On the basis of general scientific (analysis, systematization, generalization) and specific scientific (comparative analysis) methods of scientific research, the differences of the innovative technologies has been found out. As a result, pedagogical, organizational and managerial innovations are used in the practical work with future choreography specialists.
It has been proved that the creation and realization of various types of programs (author’s, block, integrated), additional developing disciplines (gymnastics, bases of acting skill), game technologies, technologies of “project training” (report concert, master class, academic show), information technologies (digital, video and audio technologies, computer multimedia technologies, artificial intelligence technologies, Internet and communication technologies, virtual reality modeling technologies), non-traditional methods of pedagogical process organization (binary approach, trainings) are fundamental in pedagogical innovations.
Non-traditional forms of the educational process organization, technology of “collaborative learning”, innovative methods of space and time organization, technology of health-saving learning, information technologies are components of organizational innovations that provide future choreographers with a sense of tolerance, collectivism and also have a psychological influence on emotional state, behavior, attitude to classes, the level of mastering general and professional competences. The professional activity of future choreography specialists, in particular leadership of the choreographic team, requires mastering managerial innovations (marketing and advertising, basics of entrepreneurship, management principles, information provision of management, cultural and artistic projects, basics of business planning, fundraising techniques) that form image and reputation of the latter. The study does not include all the aspects of the issue of using innovative technologies in practical work with future choreographers and shows the need for its further development in such promising areas as optimizing the content of higher choreographic education by means of information technology, especially teaching choreographic disciplines in conditions of distance learning.
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Portnova, Tatiana V. "Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–6. http://dx.doi.org/10.1145/3460456.
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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.
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Spinul, Igor, and Elena Spinul. "THEORETICAL AND METHODOLOGICAL FUNDAMENTALS OF TRAINING OF FUTURE SPECIALISTS OF MODERN BALLOT DANCES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 128–33. http://dx.doi.org/10.36550/2415-7988-2021-1-195-128-133.
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In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of folk dance. Modern society places high demands on the professional training of future teachers in the field of culture and art. Fundamental knowledge of philosophy, pedagogy and psychology, ethics and aesthetics, other sciences help to organize the educational process with its main purpose, didactic, educational, developmental tasks, traditional and interactive methods, learning technologies and organizational forms determined by the teacher in accordance with modern requirements. put forward by the «Law of Ukraine on Higher Education» and state educational standards. The process of training a specialist in the field of ballroom dancing is based on the presence of practical training, adjustment, consolidation of movements and skills of the teacher, because without in-depth analysis of body movements in various dance performances, the idea of ballroom dancing Constant quality control and the creation of individual tasks will promote self-analysis of the student, his understanding and understanding of the importance of the balance between mental activity, physical and spiritual development. In the article the author explores the specifics of teaching modern ballroom dancing in higher education; defines the essence, criteria, requirements of choreographic and performing skills as a competence. The characteristics and features of the teacher-choreographer, his personal qualities are presented.
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Coladangelo, L. P. "Thesaurus and Ontology Construction for Contra Dance: Knowledge Organization of a North American Folk Dance Domain." KNOWLEDGE ORGANIZATION 47, no. 7 (2020): 523–42. http://dx.doi.org/10.5771/0943-7444-2020-7-523.
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This case study aims to preserve and disseminate cultural heritage information about the North American community folk dance tradition of contra dance through development of a thesaurus of choreographic terms and a domain ontology. A survey of dance resources was conducted, reviewing historic and modern examples of contra dance choreography notation and instructions, records of dance events, and recordings of dance performances. Domain and content analysis were performed on the resources to collect and organize concepts and themes regarding choreographic components and their relationships, the structure and function of cultural works, their creative expressions, and the evidence of those expressions in documents and recordings. Vocabulary used in the description of contra dance choreography was identified, classified, and notated to build a thesaurus, which was used as the basis of a domain ontology. Ontology building methodology and existing conceptual models for cultural heritage domains guided the ontology development and revision phases. The study also seeks to safeguard an intangible cultural heritage by applying knowledge organization and semantic approaches to folk dance in order to model such challenges as multiple, simultaneous modes of communication and forms of representation, modular conceptual components, descriptive sequences, differing levels of structured information, and complex cultural networks found at various levels of domain discourse.
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Kisil, N. "CHOREOGRAPHIC WORKS AS OBJECTS OF FORENSIC EXPERTISE: KEY FEATURES AND APPROACHES TO SOLVING EXPERT TASKS." Criminalistics and Forensics, no. 64 (May 7, 2019): 791–803. http://dx.doi.org/10.33994/kndise.2019.64.74.
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A research aim was to investigate signs peculiar to choreographic works, as objects of copyright. Will consider, what elements of choreographic results can be attributed to maintenance, and also internal and external forms, and also to offer approach to the decision of set certain tasks. Identification of the main features of choreographic works has a special relevance for the methodological provision of forensic expert activity. It was established that the main tasks of the forensic expertise of choreographic works are: the definition of the object of copyright law in the object of research; definition in the object of the research or its part of signs of originality and creative nature; establishing the fact of reproduction of a choreographic work; establishing a method for its use or processing. The results of the conducted research indicate that the elements of the internal form of choreographic works may include the artistic image, composition, structure of the work. The elements of the external form – the choreographic work of the work (choreographic vocabulary of the work, style of speech), that is, the author’s own means and techniques of creating artistic images, with which plastic dance images are created. During realization of expertise it is expedient to investigate the next elements of choreographic language works: composition of motions, gestures, poses, mimicry; harmoniousness of motions and poses, plastic expressiveness and mimicry, rate and rhythm of motion, spatial picture; light and colour decisions; stage sceneries, suits, make-up and hair-dos of actors; individual style of motion (handwriting of motions) etc. At establishment of fact of the complete or partial use of choreographic work an expert on the stage of comparative research conducts the analysis of language elements of the investigated works, methods of their selection, use, mutual combination and correlation. The elements of maintenance and form of these works are thus analysed, in particular, features of expression of their internal and external form. In the process of research the special attention applies on facts that can testify to more early use by other authors of analogical choreographic elements. It also establishes the originality of the used choreographic vocabulary of the work, means and methods of creating artistic images. Key words: choreographic works, forms of work, expert practice, objects of copyright.
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Bauer-Nielsen, Birgitte. "The Choreographer’s View." Nordic Journal of Dance 8, no. 1 (June 1, 2017): 32–39. http://dx.doi.org/10.2478/njd-2017-0005.
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Abstract In 2016, I published a book in Danish ‘Koreografens blik – En performativ koreografisk metode til skabelse af en interkulturel forestilling’. This article is a short presentation of this book. The book qualifies the choreographer’s view, that is, it examines and articulates the choreographic process from idea to product. Because of my dual role as choreographer and scholar, my analysis takes practice-based research and artistic research as its points of departure. On the basis of courtship dances, I have created an intercultural dance performance entitled ‘Sommerfuglen’ (‘The Butterfly’). The performers are dancers and musicians from Tanzania, Vietnam and Denmark. Courtship dances have a ritual status in all three cultures. I analyse the translocal process of the development of an intercultural dance performance in which local Tanzanian courtship dance features are analysed. The focal point of the translocal analysis are artistic and social practices that support the dance performance. What changes occur from translocal practice and/or dialogue? How can they be used in a global dialogue? The theories and methods used to analyse performative choreographic practice have their origins in performative anthropology, performance studies and theories of performativity.
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Maksimenko, K. A. "Music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 63–73. http://dx.doi.org/10.34064/khnum2-14.05.
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Background. One of the typical trends of modern musicology is the increasing interest in the problem of components dialogue in the synthetic forms of art. In the context of this global topic, the issue of music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century is of particular interest. The connection of music and choreography in the art of stage dance of the 17th – the first half of the 18th century appears as a kind of continuation of the syncretic unity of ancient art seen through the prism of the professional experience of the creators of court musical and stage productions in the French classicism style. In the court operas, ballets and other types of performances such of the composers, as A. Kampra, J.-B. Lully, J. F. Rameau, the spirit of the antique art was reviving in its own special way representing the “ensemble of arts” in a miniature. The research objective is to identify the features of the combination and interaction of musical and choreographic arts in the stage dances of French musical and theatre productions of the 17th – the first half of the 18th century. The article uses the method of comparative analysis. This method allows to analyze the features and the ways of interaction between the elements of dance and musical syntax. Results. The art of choreography is a rhythm and plastic form of thinking and self-expression, which can reflect reality not only in its eventual plot related manifestations, but also to rise to the broad abstract generalizations. In view of its rather conditional nature, dance requires, to one degree or another, the interpretation of its content. In the 17th and early 18th centuries, the need for such an explanation increases significantly because of the great role of emblems and encoded content in various aesthetic and artistic phenomena. In the dance, the close relation to the court ceremonial, which did not allow the expression of emotions, initiated this feature additionally. For example, at that time one was believed that stepping a minuet means “drawing up secret signs of love”, which were recognized in movements, poses, facial expressions and gestures. In the Baroque Epoch the audience easily was recognizing the content of such dances, whereas for the modern observer and researcher it remains unknown. The dance moves and their combinations in stage dances of the 17th and early 18th century receive a specific meaning in the context of poetic, musical and dance phrases. However, first, the moves of dancers-performers were consistent with the music. As a rule, the result of making a choreographic production depended on the composer’s choice of the musical form. Most of the dances within the researched period were set to music in a two-part form. Less often we can find the samples in the form of a couplet rondo and ostinato variations. When making the dance productions, French choreographers took into account the features of other popular musical forms of the 17th –18th centuries. In some cases they emphasized or combined with their own author’s decision the symmetric basis laid down in the musical structure (the form of rondo), in others – they disclosed the effect of the continuity principle. An example of the embodiment of a choreographic idea set to music in the form of a rondo is the passepied production (fr. passé-pied) “La Gouastalla” realized by R. A. Feye to the music of the unknown composer. The choreographic composition consists of five dance periods corresponding to five sections of the musical form. A slightly different choreography scheme – ABCBC is combined with the symmetric scheme in the musical variation– ABACA. In this production the combination of the musical form and the choreographic composition is somewhat changed, however, this does not mean the complete neglect of the musical form regularities in the construction of the dance general plan. One of the aspects of the musical and choreographic arts combination in French stage dances of the 17th and 18th centuries is the connection with of the choreographic component of the latter with the tonal plan of the musical work. The tonal coloring of the music was reflecting in the formation of a choreographic drawing of dance, in the process of expressing in the movements of various emotions and feelings. Changes of tonalities, the most used of which, as a rule, a certain circle of images and affects, their own “character” carried along at that time, were associated with a variety of transitions in the emotional coloring of the dance. It is from such, emotional, the perception of tonality, the versions of the tonal plans of French dances follows, which are unusual for later canons of Viennese Classicism, in particular, with the violation of the harmonic sequence of T-D-S-T. Conclusions. Thus, the stage dance of the 17th and early 18th century is a peculiar form of embodiment of the “miniature ensemble of arts”, where dance moves and their combinations receive a specific coloring in the context of poetic, musical and dance phrases and certain allegorical meanings. Nevertheless, first and foremost, the moves of dancers-performers were consistent with the music. Obvious is the great dependence of the choreographic production on the musical form and its components – the rhythm as well as the tonal and harmonic plan, which combined with the choreographic elements, prompt the feelings transmitted in the dance, which give to it the life and inspiration.
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Vedel, Karen. "Migratory Choreography and Spaces of Resistance." Dance Research Journal 52, no. 1 (April 2020): 58–70. http://dx.doi.org/10.1017/s0149767720000066.
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This article examines dance pieces premiered in the Nordic countries at the height of the Syrian refugee crisis in 2015. Framed by the heated debates on current immigration policies, as well as prevailing tropes of a theater of migration and the figure of “the migrant,” the analysis centers on the potential for creating spaces of resistance in the encounter between choreographic performance and spectators. Drawing on analytical concepts such as migratory aesthetics and choreographic agency, the focus is on the interrelationship between the choreographic articulations of experience of migration and their materialization before an audience.
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Krone, Beth. "Embodied refusals and choreographic criticalities." English Teaching: Practice & Critique 18, no. 4 (November 11, 2019): 415–28. http://dx.doi.org/10.1108/etpc-03-2019-0031.
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Purpose This paper aims to describe the work of a group of seventh-grade boys in a middle school superhero storytelling project. In this project, the boys, one of whom identified as Latino and five of whom identified as Black, created a voiceless, faceless, raceless superhero named “Mute.” Using a Black feminist theoretical framework, the author considers how the boys authored embodied moments in the construction of their character and in a basketball scene. The author argues that within the narrated space of the story, embodiment functioned as a critical tool for authoring spaces that thwarted and bypassed dominant social narratives. Design/methodology/approach The white, female, university-affiliated author was a participant-researcher in the “Mute” group’s ten storytelling sessions. The ethnographic data set collected included fieldnotes, recordings and copies of all the writing and images of the group. The author uses this data to conduct a narrative analysis of the Mute story. Findings The author suggests that the group’s authoring of embodiment and choreography in their story makes space outside of the binary stances often available in traditional critical analyses. Instead, the group’s attention to embodied aspects of their character(s) allowed them to refuse either/or positions of such stances and construct a textured reality that existed beyond these bounds. Originality/value Black feminist theorists have warned that critical readings are potentially essentializing, risking a reification of the same systems they hope to overturn. The Mute group’s invention of a superhero character and their use of authored embodiment deflected such essentializing readings to imagine a new, more just (story) world. Thus, the author recommends an increased attention to how students are writing and reading embodiment to fully see the everyday ways they are critically working both against and beyond the social narratives that organize their lives.
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Todi, Cristina. "Ipostases of The Choreographic Dialogue." Review of Artistic Education 17, no. 1 (March 1, 2019): 171–82. http://dx.doi.org/10.2478/rae-2019-0018.
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Abstract The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.
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Todi, Cristina. "1. Historical Evolution of Adagio (Analysis of the Choreographic Concept)." Review of Artistic Education 19, no. 1 (April 1, 2020): 155–64. http://dx.doi.org/10.2478/rae-2020-0019.
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AbstractBy this study we propose to expose the steps that led to the development of the choreographic adagio. Without excluding the importance of the precursory period, the approach of the discourse introduces us into the middle of the 18th century, exactly in the age when this miracle of dancing began to assume clear contours. We remind of the entrées full of effects with high elevations of Auguste Vestris, the expressivity of Marie Salle, the Noverian manifesto certainly the pas de deux formula - which is used even nowadays - of Marius Petipa. The transformations of the subjects - from the mythology to the eternal theme of love - are completed by the different states of the danced dialogue. The deciphering of the symbols founding its gesticulation and explains the step or the choreographic element is visible through the scene of the balcony of ballet Romeo and Juliet by Prokofiev and by the meeting between Spartacus and Flavia in the ballet of Avram Haciaturian. The state of poetry, of dreaming, noble rise of the soul towards unsuspected horizons, the adagio, confesses to us its filiation even beyond the border of the age. We consider that this paper is useful both for the teaching staff who must instruct the youngsters in vocational schools a profound and qualitative choreographic culture, and to those who are training in the art of dance.
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McLay, Grant, Lee McGowan, Gene Moyle, and Laurent Frossard. "Building Fields of Play: An examination of the use of notational analysis to reinterpret dynamic and sequential movement from Rugby Union to inform the creation of a new dance work." Choreographic Practices 11, no. 1 (July 1, 2020): 163–85. http://dx.doi.org/10.1386/chor_00017_1.
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This article offers an examination of a research process that used elements taken from an elite sporting competition, in this case an international Rugby Union match, to develop choreographic thinking tools to create a new contemporary dance work. One goal of this practice-led research was to create a vehicle for penetrating the physicality and unpacking the bodily configurations created in a rugby match. Data derived from a frame-by-frame analysis of a recorded match allowed for the identification and deconstruction of sequential movement to be converted into set representational, abstract choreographic tools named movement signatures and blocks. Through this research, the main physical traits identified were entanglement, directional changeability and interlocking struggle. Subsequently, these choreographic stimuli were used in the formation of movement scores and an abstract movement vocabulary to inform the creation and performance of a non-traditional research output, Fields of Play (2015). Furthermore, this practice-led study utilized elements of Laban Movement Analysis and sports movement analysis to develop an experimental approach to movement annotation and the development of a choreographic process. Through witnessing this hybrid movement vocabulary evolve, the research revealed qualities of de-centred logic, interruption of flow and the potential for a game dramaturgy to emerge.
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Khokhlova, Daria. "The peculiarities of interpretation of female images of W. Shakespeare play “The Winter’s Tale” in the eponymous ballet by Christopher Wheeldon." Культура и искусство, no. 9 (September 2020): 1–14. http://dx.doi.org/10.7256/2454-0625.2020.9.33669.
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The subject of this research the interpretation of female images of W. Shakespeare's “The Winter's tale” by C. Wheeldon in the context of its ideological-imagery identity to the literary source. An attempt is made to determine the expressive means and choreographic elements used by ballet master in staging female roles, as well as their contextual juxtaposition to the primary source. The application of comprehensive approach is substantiated by versatility of the problem on interpretation of W. Shakespeare’s play on the ballet stage. The theoretical framework of this article is comprised of the principles of critical and semantic analysis of choreographic lexis developed by the historians and theoreticians of ballet art (Dobrovolskaya, Krasovskaya, Slonimsky, Lopukhov, Surits). In the course of histotiohraphical analysis, the author considered the English-language peer reviews to the world premiere of the ballet (citations from the articles are presented in the author's translation), as well as video materials from the archives of London Royal Opera House and Moscow Bolshoi Theater. The author also applied the method of overt observation based on the personal work experience with Wheeldon as a performer in Bolshoi Theater), accompanied by the analysis of rehearsals for March – April of 2019 from the author's archive. The conducted detailed semantic analysis of the composition and choreographic lexis of female images of Shakespeare's play “The Winter's Tale”, interpreted by Wheeldon in the eponymous ballet, appeared to be the key instrument in development of the articulated scientific problem. The research results contain substantial groundwork in the aspect of determination of the classical and innovative artistic elements of the dance language developed and applied by C. Wheeldon. This allows concluding that leaning conceptually on Shakespeare's text, the choreographer adapts the interpretation of female images to a certain extent, using the expressive potential of the stylized ballet art. At the same time, the key expressive means in staging female roles becomes the individualized plasticity interpretations of the heroines.
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Kurtieva, K. "The origin of the Subcarpathian choreographic culture and its perception in literary sources." Culture of Ukraine, no. 72 (June 23, 2021): 21–26. http://dx.doi.org/10.31516/2410-5325.072.03.
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The aim of the article — to analyze and highlight the preconditions for the emergence of Subcarpathian choreographic culture and to carry out historiographical analysis of published artistic, folklore, ethnographic literary sources, which are focused on the consideration and perception of the origin and development of dance culture of Subcarpathia.
The methodology. General scientific, specific scientific and special methods were used to reveal the general principles of the research topic. The basic methodological basis is based on the culturological approach. Since culture is constantly in the process of movement, a hermeneutic approach and a historical method of research were used to study it. The method of analysis is a thorough method that was used in the study of various literature sources and substantiation of conclusions.
The results. It can be stated that the issue of the emergence of the culture of Subcarpathia has not been studied sufficiently. The first mention of its origin is found in the chronicles. The fiction reflects the life, way of life, culture, dance in particular, the people of Subcarpathia. Of great value are historical and ethnographic works in which scholars study the rites and dance traditions of the region. Researches of choreographic art by V. Avramenko, K. Vasylenko, V. Verkhovynets, R. Herasymchuk are more immersed in the coverage of the development of choreographic art. Modern scientists continue and improve the scientific works on the theory of choreography that are based on the works and creative heritage of their predecessors. However, there is a lack of research on the interaction of regional cultures and the cultures of neighbouring peoples in relation to the culture of Subcarpathia, which gives impetus to further research in this area.
In our opinion, in terms of research by scientists and analysis of literary sources, the choreographic art of the Carpathian region was formed for a fairly long period of time and continues its development today.
The scientific topicality. This work is probably the first attempt to investigate the moment of origin of Subcarpathian culture, the influence of other cultures and to analyze and structure in more detail the literary sources that reveal this issue, as this issue has not acquired a sufficient comprehensive coverage of modern domestic science.
The practical significance. The information contained in the article can be useful for students, teachers and researchers of Subcarpathian culture.
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Pouillaude, Frédéric. "Dance as Documentary: Conflictual Images in the Choreographic Mirror (OnArchiveby Arkadi Zaides)." Dance Research Journal 48, no. 2 (August 2016): 80–94. http://dx.doi.org/10.1017/s0149767716000267.
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In a solo performance entitledArchive(2014), the Israeli choreographer Arkadi Zaides offers a physical and choreographic interpretation of videos collected by the Israeli nongovernmental organization B'Tselem in the context of an operation called “Camera Project.” The footage projected on stage shows only Israelis, but the viewpoint is Palestinian. Starting from this material, Arkadi Zaides performs, by extraction, imitation, and repetition, a (self-)analysis of the contemporary Israeli body, following a procedure reminiscent of Avi Mograbi's for film. What is the specific nature of these images whose very mode of capture emblematizes the conflict situation? What might be the contribution of an approach that puts the dancer's kinesthetic knowledge to work? How far does this offering force us to think about the “documentary” potential of dance performance, which is too often brushed aside or played down?
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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 (March 21, 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 creation of their own choreographic sketches in the middle of the hall, as well as training exercises near the machine, is substantiated. It is noted that students' sketch work in folk-dance classes is characterized by the study of choreographic sketches on the basis of dance vocabulary. The essence of separate types of students-choreographers’ independent work is revealed. The authors point out that the development of creative thinking, creative imagination and fantasy requires the application of a set of creative tasks based on improvisation. Attention is drawn to the need for the use of interactive and information technologies. Classes with the introduction of interactive and modern information technologies maximally stimulate student-choreographer’s cognitive independence and creative activity.
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IWANSKA, ALICJA. "Straight into the Eyes – Jacek Łumiński and the Silesian Dance Theatre(1991-2011)." Journal of Education Culture and Society 3, no. 1 (January 13, 2020): 31–46. http://dx.doi.org/10.15503/jecs20121.31.46.
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The fi nal decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over the intervening twenty years.The aim of this article is to present the artistic and educational activity of the Silesian Dance Theatre of the recent twenty years. In the beginning the author presents a choreographic por-trait of J. Łumiński, the founder and choreographer of the Silesian Dance Theatre, and creator of the Polish contemporary dance technique. Then an analysis of J. Łumiński’s dance style is car-ried out, and the review of the Silesian Dance Theatre’s choreographic attainments is presented.The fi nal part of the article discusses the wide spectrum of educational activities under-taken in the fi eld of contemporary professional dance by theSilesian Dance Theatre, and the phenomenon of the theatre on the Polish stage.
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Bogoliubova, Natalia. "Russia and Brazil. Dialogue in the images and rhythms of ballet art at the beginning of the XXI century." Latinskaia Amerika, no. 9 (2021): 6. http://dx.doi.org/10.31857/s0044748x0016129-0.
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The modern cultural dialogue between Russia and Brazil is being developed quite successfully and actively. One of the original areas of cooperation is the ties in the field of ballet art. In this study, based on the rich and varied material of sources and the latest publications on this topic, the authors attempted to show the role of choreographic ties in cultural cooperation between Russia and Brazil, to consider ballet as an instrument of “soft power” and an effective image-forming tool. The article shows the bilateral nature of the dialogue between Russia and Brazil at the beginning of the 21st century, identifies those important forms of professional cooperation in the field of ballet art that determine the modern nature of the possibility of a dialogue. Independent attention in this study is paid to the unique educational form of modern ties – Bolshoi Theatre ballet school in Joinville, which has already trained talented artists, the winners of international competitions and the laureates of prestigious choreographic awards. The article presents a qualitative analysis of the forms of choreographic cooperation and shows their role in the dialogue between the two countries. The methodological approaches were formulated by the authors based on the set goal, taking into account the interdisciplinary nature of the stated topic – to consider the ties between Russia and Brazil in the field of choreographic art, as an important area of bilateral contacts, foreign cultural policy of the two countries and an instrument of “soft power”. The research methodology includes a comparative method, which made it possible to identify the general and the specific in the choreographic ties between Russia and Brazil at the present stage of cooperation, to note the dynamics of these ties. The descriptive approach provided an opportunity to consider and to describe the events (competitions, tours, joint projects) that united Russia and Brazil in the field of choreographic art at the beginning of the 21st century, and which are an original form of choreographic collaboration. The biographical approach allowed recreating the biographies of ballet dancers – participants in the dialogue. We applied such general scientific methods as analysis and synthesis in our work.
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Bidyuk, Natalya, and Dmytro Bidyuk. "Mоdern choreographic education: british and ukrainian experience." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 7–14. http://dx.doi.org/10.29038/2415-8143-2020-01-7-14.
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The article substantiates the expediency of a holistic analysis of the problem of professional training of choreographers in the British experience and the need to extrapolate it to the plane of the national system of higher choreographic education. The purpose of the study is to identify the organizational and didactic foundations of choreographic education in the British experience and substantiate innovative ideas for its use in Ukraine. The article defines the criteria of comparison (regulatory, organizational, semantic, methodological and technological), comparative and pedagogical analysis of choreographers’ professional training in the British and Ukrainian experience, and also common and different trends. The article uses research methods: theoretical: analysis, synthesis and generalization of pedagogical literature; interpretation and comparison; scientific extrapolation; empirical: study of the British experience, observation, conversations with students and teachers in Great Britain and Ukraine. Result. Based on comparative and pedagogical analysis of professional training of choreographers in the British and Ukrainian experience revealed familiar and different trends. The criteria of comparison are determined: normative-legal, organizational, semantic, methodical and technological. Common approaches to choreographers’training are justified. On the generalization of the identified features the specific recommendations for the use of progressive ideas abroad in the Ukrainian system of choreographic education are substantiated.
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Maulida, Izlatul, and Herlinda Mansyur. "KOREOGRAFI TARI RATOK MAIK KATURUN DI NAGARI PADANG LAWEH KECAMATAN KOTO VII, KABUPATEN SIJUNJUNG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 211. http://dx.doi.org/10.24036/jsu.v9i2.110545.
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This study aims to reveal and describe the Choreography of Ratok Maik Katurun Dance in Padang Laweh Village, Koto VII District, Sijunjung Regency. Therefore, this study explores the problems related to the choreography contained in the Ratok Maik Katurun dance in Padang Laweh Village, Koto VII District, Sijunjung Regency. This research belongs to a qualitative research using descriptive methods. The main instrument of this research was the researcher itself and was assisted by supporting instruments such as writing tools and voice recorders. Types of data used were primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted through data collection, data reduction, data presentation, and conclusion making. The results show that Ratok Maik Katurun Dance is a traditional dance which uses a choreographic approach and is created by raising the life of nature and the people of Padang Laweh village. Ratok Maik Katurun dance has a unique cultural value. It is dancing at the death of a leader in Padang Laweh village. Ratok Maik Katurun dance has two main aspects. The first one is the aspect of form including: motion (10 types of motion); simple floor designs such as straight and curved lines, top designs such as angular, medium, low, high, contrast and curved designs; group composition such as synchronously and balanced;female dancers aged 30-50 years; music using gondang boghek, talempong, and gong instruments; costumes worn is black baju kuruang basibah (Malay traditional clothes) and black songket (skirt); and properties in the form of shawls which are only worn in the oghak salendang movement. The second one is the aspect of content including: The idea, in Ratok Maik Katurun dance the idea isrelated to death and the atmosphere whichis sad. Music and dendang ratok used as accompaniment of the dance movements make the dance conveyed and complemented. Thus, it can be concluded that Ratok Maik Katurun Dance has choreographic aspects so that it can be researched using choreography knowledge.Keywords: Choreography, Ratok Maik Katurun Dance
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Batieieva, N. P. "Biomechanical analysis technique choreographic movements (for example, “grand battman jete”)." Pedagogics, psychology, medical-biological problems of physical training and sports 19, no. 4 (April 10, 2015): 3–9. http://dx.doi.org/10.15561/18189172.2015.0401.
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Rustiyanti, Sri. "Situs Megalitik Tutari sebagai Sumber Inspirasi Penciptaan Koreografi Site-Specific “Tutari MegArt Lithic”." Dance and Theatre Review 4, no. 1 (June 13, 2021): 1–9. http://dx.doi.org/10.24821/dtr.v4i1.5457.
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The Tutari Megalithic Site is a large stone age civilization site located in Doyo Lama Village, Waibu District, Jayapura Regency, Papua. Visually, on this site, there are stones with various motifs of prehistoric paintings on them. However, if it is studied in-depth, primarily through the perspective of choreography, this site has a broad potential to be a source of inspiration for creating works of art. Collaborating with previous research from the Papua Archeology Center, the creation of this Tutari MegArt Lithic artwork is focused on specific parts of the Tutari Megalithic site that can be used as inspiration for creating artworks. The method used in this writing is descriptive analysis. The purpose of this paper is to provide an overview of how choreography can collaborate across disciplines in the creation of works of art staged at the Tutari archaeological site. This paper describes the sources of inspiration for creating site-specific choreographic works of art entitled Tutari MegArt Lithic, including visual inspiration, artistic inspiration and idea inspiration.Keywords: Tutari Megalithic Site; site-specific choreography; source of inspiration; painting motive