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Journal articles on the topic 'Choreography'
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1
Tereshenko, N. "CULTURAL MODEL OF SCHOOLCHILDREN’S AESTHETIC EDUCATION BY MEANS OF BALL CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 145–61. http://dx.doi.org/10.33989/2226-4051.2021.23.238274.
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The article suggests that due to the structural characteristics of the cultural model of schoolchildren’s aesthetic education by means of ball choreography, the main components were identified as cultural positions of ball choreography, means of ball choreography, and criteria of aesthetic education of schoolchildren in ball choreography. There are given the structural components of the cultural model of aesthetic education of schoolchildren by means of ball choreography, that are functioning within two regulatory bases – the functioning of informal choreographic education and the importance of subjects of the artistic and aesthetic cycle in the invariant part of secondary schools’ curricula.
 The first component is the cultural creation of personality, which will be considered as a process in the context of ball choreography. Active involvement of students in ball choreography is one of the ways of their personal emotional development and aesthetic growth. Communication with the art of choreography, music, physical development, expansion of aesthetic horizons, the formation of a culture of relationships (personal and public) become a basis for the cultural formation of the high school student within the process of ball choreography.
 The second component of the cultural positions of ball choreography is the cultural formation of the dancer. Education of the ball choreographer involves the creation of an appropriate creative artistic environment in which the teenager will constantly feel the need for personal, creative, and aesthetic self-realization.
 The third component of the cultural positions of ball choreography is the cultural formation of the artist-choreographer. Defining this position, we realize that high school students of ball choreography at a certain stage of their aesthetic development create a desire to turn this hobby into a profession. In the context of this idea, it is advisable to organize specialized art (choreographic) education within general secondary education. Despite the fact that underage dancers do not yet have a professional choreographic education, they can fully meet the set standards for a ball choreographer.
 The next block of our cultural model, which we define is means of ball choreography. Analyzing the functionality of the means of choreographic art, we focused on the following components: music, choreographic text, choreographic drawing, stage choreography, and choreographic drama.
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Monni, Kirsi. "Rethinking Conceptual Parameters of Choreography (in Social Spaces)—Actualization of Intensities in Discursive Fields." Arts 13, no. 2 (March 21, 2024): 59. http://dx.doi.org/10.3390/arts13020059.
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This article aims to take part in the ongoing discussion on the social and political potentialities as well as the conceptual premises of choreography and to contribute to the discussion about world relations in the choreographed movement. The much-used definition of Western choreography is “organized movement in space and time”. Although this definition always applies, it does not specify the world relations and worldmaking capacities of the choreographed movement. The main focus of this article is an ontological rethinking of the basic concepts of choreography: movement, space, time and organization, with the addition of kinaesthetic fields, kinaesthetic and spatial intelligence, virtual and actual realms, striated and smooth spaces (Deleuze and Guattari) and different conceptions of time. By analyzing these concepts, the aim is to provide a view of ontologically elementary units in choreography (such as a change in space, the difference over time and space, and passage to shared actuality), with a wider understanding of the inherent social relationality in choreographed movement. After discussing these topics, a few social choreography events and protests are described to represent different choreographic aims and organizational modes arising from each specific situation. The article concludes by proposing that choreography could be seen as organizing movement in space and time but also as a choreographic actualization of intensities in different discursive fields.
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Liu, Xinyu. "Thought, Technique, Emotion: The Three Crucial Aspects of Choreography." Highlights in Art and Design 8, no. 1 (November 21, 2024): 41–43. http://dx.doi.org/10.54097/qr8zgv96.
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The choreographer is the main body of dance art creation, playing a pivotal role in the creative process. Choreography is a unique artistic capability that is involved throughout the gestation, sprouting, birth, growth, and refinement of dance works. Thought, technique, and emotion, as the three crucial aspects of choreography, intertwine and connect, collectively influencing dance creation. This paper mainly explores the three aspects of penetration of dance thinking in choreography, the selection of choreographic techniques, and the ultimate goal of conveying emotions in dance, to provide a preliminary analysis of the artistic creation of choreographer.
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Petkovski, Filip. "How to Choreograph a Socialist Society?" Arts 13, no. 1 (January 11, 2024): 15. http://dx.doi.org/10.3390/arts13010015.
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During the existence of Yugoslavia (1945–1991), the leading political ideology of “brotherhood and unity” had to be manifested in all forms of cultural life. Promoting the physically capable body as part of a larger cultural movement, Yugoslavia witnessed the transformation of physical daily regimens into mass bodily spectacles performed at stadiums, called sletovi, demonstrating the power of mass-choreographed discipline. Similarly, Yugoslav choreographers were encouraged to develop a distinct performance aesthetic based on stylization as a rhetoric for modernization, using folk dance as a medium to showcase and promote the collective body of the people through choreographed folklore spectacles. Focusing on these two case studies that exemplify how mass choreography was used as a strategy to choreograph the Yugoslav society, this paper analyzes how political ideologies and their constructions through physicality supported the Yugoslav state project, thereby pointing to the present-day remnants of these aesthetics in the post-Yugoslav republics, evident in mass protests. By utilizing archival and choreographic analysis, I demonstrate how movement and dance impacted the public understanding of unity and helped the creation of a Yugoslav socialist society, drawing from Andrew Hewitt’s thesis on “social choreography”.
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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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Mineeva, Tatyana Sergeevna, and Svyatoslav Mikhailovich Olenev. "MODERN TASKS OF THE DEVELOPMENT OF THE PRIVATE DIDACTICS OF CLASSICAL CHOREOGRAPHY: ON THE EXAMPLE OF THE METHOD OF SHOWING." Municipal education: innovations and experiment 3, no. 95 (2024): 54–59. https://doi.org/10.36871/2306-8329_2024_95_3_54.
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The problems of modern specificity and current directions of development of the private didactics of classical choreography are considered on the example of the method of showing; the possibilities of communicative, psychological, meaningful and theoretical improvement of this didactic system are determined. Goal. Identification of promising areas for the development of private didactics of classical choreography. Methodology and methods. Systemic, activity-based and functional approaches were used. Scientific novelty. The article reveals the specifics of the private didactics of classical choreography as a unique pedagogical system based on the historically established traditions of choreographic education and the format of the method of presentation authentic for choreography. The authors analyze a number of areas of development of private didactics of classical choreography related to changing requirements for the professional training of ballet dancers, with the specifics of theoretical understanding of private methods of teaching classical dance, communicative and psychological aspects of the work of a choreographer teacher. The article defines the possibilities of developing the communicative and psychological competencies of choreographers, outlines the directions for further theoretical and methodological understanding of the private didactics of classical choreography, determines the need to expand the content of the didactic techniques used. The conclusion is made about the need to ensure that the didactics of choreography corresponds to the modern theoretical and methodological level of development of private techniques, provided that the fundamental traditional foundations of teaching special choreographic disciplines are preserved. Practical significance. The materials and conclusions of the article can be used in the practice of pedagogical activity of professional choreographic educational institutions in the organization of the educational process, professional development of teaching staff, updating educational and methodological materials.
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Sosina, Valentyna. "Features of Choreographic Training in Sports." Dance Studies 3, no. 1 (June 5, 2020): 72–79. https://doi.org/10.31866/2616-7646.3.1.2020.203958.
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The purpose of the research is to determine the features of choreographic training in sports and to identify differences in the work of the trainer-choreographer and teacher of choreographic disciplines. Methodology. The research methodology is based on a theoretical analysis of scientific, methodological and specialized literature, systematization of practical material and own experience in this field, the study of a wide range of empirical research in the theory, methodology and practice of choreography and technical and aesthetic sports. Scientific novelty. The scientific novelty of the article lies in the fact that for the first time the features of the choreographic training of athletes that should be reflected in the training methodology of the trainer-choreographer are highlighted, the need for the development of educational literature on sports choreography is substantiated, and a training manual for the educational process in the national higher school, written in the Ukrainian language. Conclusions. Peculiarities of choreographic training in technical and aesthetic sports, as well as differences in the work of the trainer-choreographer and teacher of choreographic disciplines indicate that the process of training athletes must meet the requirements of the rules of the competition, development trends and the specifics of sports activities. Knowledge of the features of choreographic training in sports is a prerequisite for the training of qualified trainers-choreographers who will work in sports. Based on the analysis of scientific, methodological and specialized literature, their own experience of many years of work in this area, the textbook “Choreography in Sport” (Kyiv publishing house “Olympic Literature”) was written, intended for students of higher sports and choreographic education, trainers and choreographers in technical and aesthetic sports, teachers-choreographers.
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Hutnyk, Iryna. "Ballet Master's Work of Oleksii Homon in the Context of Folk Stage Choreography of Ukraine." Dance Studies 4, no. 2 (December 29, 2021): 117–25. https://doi.org/10.31866/2616-7646.4.2.2021.249287.
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The purpose of the article is to identify the personal contribution of choreographer Oleksii Homon to the development of folk and stage choreographic art of Ukraine. Research methodology. To achieve the goal, general scientific methods of theoretical and empirical levels are used: analysis and generalization of scientific and theoretical bases of research, chronological method. Conclusions on the peculiarities of O. Homon’s choreography were made on the basis of the analysis of the revealed complex of sources: choreographic works of the artist, interviews with him, memoirs of colleagues and artists. Scientific novelty. For the first time, in the research, a comprehensive analysis of the main stages of formation and development of O. Homon’s choreography was carried out; factual material (interview with the artist) was put into scientific circulation, which has not been published so far. Conclusions. O. Homon’s choreography is a synthesis of several generations of Ukrainian choreographers’ achievements in the field of stage interpretation of folk dance; it is based on folk traditions and creatively processed, enriched by an experienced, skilled dancer and a talented multifaceted director. Cooperation with the genius of Ukrainian folk choreography P. Virsky had a significant impact on the work of the talented choreographer O. Homon. A striking milestone in the creative life of the artist was the choreographer’s activity in the State Miner’s Song and Dance Ensemble ‘Donbas’, and later in H. Veryovka National Honored Academic Ukrainian Folk Choir. Dance numbers and vocal and choreographic compositions, created by O. Gomon and currently remain beloved by both artists and spectators. O. Homon’s choreography, his professional activity is a significant contribution to the development of folk and stage art of Ukraine, which consists in: expanding the theme of Ukrainian stage folk dances; enrichment of folk-dance vocabulary due to skilful processing of folklore material; creation of a significant number of large-scale song and dance compositions, which are rightly considered the best examples of vocal and choreographic forms of folk art.
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Blagova, T. "Dynamics of the Concepts Formation of the Profession of Choreographer in Ukraine (on the Material of Creativity of P. Virsky)." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 4(86) (December 21, 2016): 24–29. http://dx.doi.org/10.35433/pedagogy.4(86).2016.24-29.
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The article substantiates the importance of artistic and pedagogical heritage of outstanding Ukrainian choreographer P. Virsky in the development of the choreographic education in Ukraine. Content analysis of the creative legacy of choreographer has compiled the dominant direction of his professional activities which provided the formation and development of folk-stage choreography. Based on personal studio, biographical and bibliographical methods the article clarified the essence of the reform choreography of P. Virsky, its importance in the formation of the concept of Ukrainian choreographers. Ballet masters in the work of P. Virsky (staging, directing and tutoring) are organically combined with teaching activities (academic, educational, organizational, educational). The important tasks in choreographic and educational work of P. Virsky in the dance team determined the inclusion of young people in national traditions, instilling moral values, sense of national dignity, deep respect for the Ukrainian choreographic culture. Theoretically aesthetic and pedagogical principles of work of the choreographer, such as an individual approach, consistency, thoroughness, integrationist vocational and practical training are systematized. The choreographer has combined artistic and pedagogical activities in the team with choreographic education, systematically advised of Amateur dance groups on the issues of formation of repertoire, subject matter, style, ideologically-shaped orientation, technique. He provided the methodological support to the organizers of choreographic initiative, workers methodological divisions of cultural institutions. A generalization of the author's methods, technologies professional choreographic and pedagogical activities of P. Virsky allowed determining their components of the national choreographic education at the present stage.
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Bazela, Dmytro. "The Development of Coordination Abilities of Dancers Athletes During the Performance of the "Formation" Programme by the Means of Computer Choreography." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 161–68. https://doi.org/10.31866/2410-1176.46.2022.258632.
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The purpose of the article is to consider the features of computer choreography and reveal its heuristic possibilities on the example of the dance and sports programme “formation”, to substantiate the influence of the latest scientific and technological achievements on the development of coordinated abilities of dancers of synchronised team performance. Methods. There are methods of analysis and generalisation to identify the features and trends in computer choreography in the 20th century, structural and functional analysis in the process of characterising the current state of professional training of choreographers, and on the logic-system method, which helped to reveal the importance of the latest computer choreography means of the programme “formation”. Result. It is claimed that computer choreography is a privileged field for studying the fruitful interaction of technological innovations, choreographic creativity of sports, designed to optimise and expand the potential of both choreographer and dance sports, having in its arsenal algorithms, neural networks, artificial intelligence, projecting of spatial rooms and body movements, etc. The article demonstrates that its tools (ChoreoGraph, Swarm, Isadora, MidiDance, CLA, Choreogenetics, Chor-rnn, etc.) contribute to improving the structure and logic of synchronised team performance, contact improvisation, deepening the understanding of the biomechanical nature of movements and providing a link between the level of development of coordination abilities, the synchronicity of performance and accuracy of technical and compositional constructions of the “formation” programme. Scientific novelty. For the first time, the role of computer choreography in the development of coordination abilities of dancers in the process of ensemble performance of the “formation” programme is revealed, which contributes to the improvement of sports and technical skills, psychophysiological and aesthetic development, and self-expression of the dancers’ personality.
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Gutkovskaya, Svetlana. "Intonation as a Source of Information for the Creator of Choreographic Composition." Dance Studies 2, no. 1 (June 26, 2019): 86–95. https://doi.org/10.31866/2616-7646.2.1.2019.172188.
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The purpose of the study is to identify the levels of intonations interaction in music and choreography. Methodology. Theoretical analysis of scientific and specialized literature on the indicated problem. To identify the levels of intonation interaction in music and choreography related to the practice of composing choreographic works, such methods of scientific research as comparison, abstraction and generalization were used. Scientific novelty. The formulation of the problem of the intonations interaction in music and in choreography as applied to the field of staged activity in the field of choreographic art can be considered as being new. Information appears in this case as a specific artistic message. Conclusions. A strategy based on specific knowledge of the nature and intonation role as a source of information fundamentally changes the very approach to composing choreographic text and dance patterns. The initial thorough analysis of the intonations of the musical composition and the use of this information for selection of expressive means of choreographic composition is obligatory. The choice of expressive means by the choreographer is limited by the framework in which the musical intonation functions, as well as by the laws of interaction between music and choreography. It can be argued that musical intonations act as a carrier of very important information for the dance creator at various levels, stimulating ideas and images of the choreographic composition. The exceptions are the cases of this type of relationship of music, verbal text and choreography in works solved by means of modern dance, which are called the “mismatched” principle. The role of the performer of the choreographic text is also great, which makes the plastic intonations “convex” or levels them out.
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Hannuksela, Riina, Sydney Erlikh, and Kelsie Acton. "Choreographing the disabled spectator: Disrupting audience expectations in Dancer and rampa landscape." Choreographic Practices 15, no. 1 (June 1, 2024): 157–80. http://dx.doi.org/10.1386/chor_00074_1.
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Representation of ‘differing bodyminds’ in dance has expanded how dancing bodies are imagined. Examining two performances in Helsinki, Finland, Dancer and rampa landscape: lazy, late, absent through collaborative autoethnography we consider in what ways these works might choreograph for disabled spectators. We argue that choreography addressing disability and neurodivergence that does not consider the diverse access needs of spectators, risks creating hermeneutical injustice. This occurs when individuals experience harm due to their inability to understand or articulate their own experiences. Hermeneutical injustice is characterized by inequitable access to disability knowledge and a declarative approach to access where performances, venues and artists claim to be accessible for spectators without attention to what is necessary for access. Through this process, spectators without access needs have more access to the choreographic knowledge of disability. We alternate our experiences of these performances with reflections on spectator access and draw on framing materials to provide context. We focus on how the performance choreographs for disabled spectators – relating our own embodied experiences and observations as audience members. Ultimately, cripping choreography cannot just involve onstage representation; it must consider and welcome the disabled spectator.
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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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Hilari, Johanna, and Julia Wehren. "Social Choreography as a Cultural Commoning Practice: Becoming Part of Urban Transformation in Une danse ancienne." Arts 13, no. 2 (April 9, 2024): 70. http://dx.doi.org/10.3390/arts13020070.
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This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices.
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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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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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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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Chuprun, Natalia, and Serhii Bezkorovainyi. "The influence of choreography elements on the development of balance in sumo students." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 7(180) (July 25, 2024): 207–12. http://dx.doi.org/10.31392/udu-nc.series15.2024.7(180).41.
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In order to achieve and maintain high sports results in sumo wrestling, a number of aspects are necessary, including the ability to maintain balance. Conclusions: in our opinion, the basic choreographic exercises that will be effective in the process of developing balance in sumo wrestlers are sabriole, balance, demi and grand rlie, marche. By applying the principles of motor learning, skill acquisition and sports science, coaches and athletes can develop effective training programmes that incorporate choreography elements to improve the movement pattern, synchronisation, coordination and tactical awareness of sumo wrestlers. Thus, elements of choreography have a significant impact on the development of balance, namely choreographed movements often require complex coordination of different parts of the body. Weight transfer: most choreographed movements involve shifting weight from one foot to the other or from one side of the body to the other. Muscle strength: Effective balance relies on a strong muscular core, which includes the abdominal, back and pelvic muscles. By performing choreographed exercises, people strengthen their core muscles, which contributes to better balance and stability. Correct posture is essential for maintaining balance, as it aligns the centre of mass of the body over the fulcrum. By practicing choreographed exercises, sumo wrestlers develop postural control, which improves their overall balance. Dynamic stability: choreographed movements often involve transitions between different positions and directions, forcing people to adjust and adapt their balance in response to changing demands. Rhythm and timing: Choreography often incorporates rhythmic patterns and timing, requiring people to synchronise their movements with music or a pre-determined rhythm.
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Hall, Joshua M. "Sociohistorical Self-Choreography: A Second Dance with Castoriadis." Culture and Dialogue 7, no. 1 (May 7, 2019): 87–104. http://dx.doi.org/10.1163/24683949-12340058.
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Abstract Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of the sociohistorical, in which performance the sociohistorical plays two dancing roles simultaneously, both choreographer and choreographed dancer. More precisely, as interpreted by Castoriadis in a late essay, the creation and emergence of forms in time consists of a poetic “scansion” or “scanning” of time. Thus, the sociohistorical is both choreographer and dancer, poet and reader, reinterpreting the poetic text of time as the music for its evolving dance.
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Androshchuk, L. M. "Future choreography teacher training in the system of choreographic and pedagogical education in the context of participation of graduating department in complex scientific project." Musical art in the educological discourse, no. 2 (2017): 123–27. http://dx.doi.org/10.28925/2518-766x.20172.12327.
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Future choreography teacher training in the system of choreographic and pedagogical education in the context of the participation of the graduating Department of Choreography and Department of Choreography and Artistic Culture of Pavlo Tychyna Uman State Pedagogical University in the complex scientific project are considered in the article. The basic tasks of the project in the context of the forming of the creative potential of the future choreography teacher are presented. The result of investigation is the following: 1) The aim and tasks of the subtopics of the complex scientific project “Theoretical and Methodological Foundations of Development of Future Choreography Teacher’s Creative Potential” are analyzed. The aim of investigation is foundation of the theoretical and practical component of development of future choreography teacher’s creative potential. 2) The results of analytical (2015) and search-activity (2016) stages are highlighted. The theoretical and methodological foundations of development of future choreography teacher’s creative potential are considered, innovative model of future choreography teacher’s creative potential in the process of the scientific-creative projects is proved; the series of scientific-creative projects in the disciplines of choreography cycle are developed and implemented; the series of academic editions from the professional dance disciplines are prepared; the results of investigation in the form of monographs “Theoretical and Methodological Foudations of Development of Future Choreography Teacher’s Creative Potential”, “Methodology of Implementation of Innovative Model in Development of Future Choreography Teacher’s Creative Potential”, publication “Strategies for Development of Choreographic Education”, articles in the professional editions etc. are implemented into scientific circulation and educational process. 3) Development and implementation of educational-methodological manuals, educational programmes and methodological recommendations for students’ independent work in disciplines of the choreographic cycle into the educational process of higher education institution are of great practical value according to obtained results. Among the significant results of implementation of a comprehensive scientific project there is an introduction into scientific community of the edition “Strategy for the Development of Choreographic Education, which was published on the results of the II and III All-Ukrainian Scientific and Practical Conference with International Participation “Modern Development Strategies for Choreographic Education” (May 16, 2015, June 25, 2016, Pavlo Tychyna Uman State Pedagogical University).
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Shahmuradova, Nigyar, and Gulnara Saitova. "FEATURES OF THE CHOREOGRAPHIC ART OF AZERBAIJAN: CONCEPT OF TRAINING AND IMPROVEMENT OF PERFORMANCE SKILLS." Central Asian Journal of Art Studies 9, no. 3 (September 20, 2024): 255–69. http://dx.doi.org/10.47940/cajas.v9i3.940.
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The development of choreographic art is not a static process, it is steadily developing in accordance with the trends of the time. In modern conditions, leading experts in the field of ballet and national choreography through analytical research identify new forms of dance art and determine current trends in its development. Undoubtedly, the foundation of training professional personnel (ballet artists, dance ensemble artists) in the field of choreography is ballet school. However, the increased demand for choreographer, ballet master and ballet teacher requires new approaches to the educational process. Due to the need to preserve and develop traditions of choreography in the Republic of Azerbaijan, as well as with the aim of training highly qualified specialists in this field, the Baku Choreography Academy was established on the basis of the Baku Choreography School. The purpose of the study is to consider the features of the formation and development of Azerbaijani choreographic art in the context of evolution of the ballet school of Azerbaijan. Objectives: identifying the path of formation and development of the Azerbaijani ballet school; understanding and defining the significance of the production works of choreographers in the context of the choreographic art of Azerbaijan; substantiating the idea and innovation in pedagogical activities for the preparation and improvement of the performing skills of future ballet dancers and dance ensemble artists; defining promising tasks for improving the model for training choreographers based on the development of Azerbaijani dance. Research methods. In accordance with the goals and objectives set in the article, the methods developed by science historical analysis, comparative analysis, method of included pedagogical observation, analytical method of comparison of various pedagogic technologies. The results of the study are guaranteed by the extensive methodological validity of theoretical and practical provisions related to active approaches to solving problems. Describing the main features and principles of the formation and development of the ballet school of Azerbaijan, the authors of the article consider the issue of preservation of traditions, both choreographic art and education, and formulate with specific arguments. Experimental testing of theoretical provisions, based on a wide range of scientific and pedagogical sources.
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Myroniuk, Nataliia. "Yevhen Zaitsev's Contribution to the Development of the Art and Pedagogical School of the Choreography Department at the Kyiv State Institute of Culture." Dance Studies 5, no. 1 (June 3, 2022): 8–16. https://doi.org/10.31866/2616-7646.5.1.2022.261604.
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The purpose of the article is to analyze the creative biography of Ye. Zaitsev, reveal his role in the formation and development of the art and pedagogical school of the Choreography Department at the Kyiv State Institute of Culture named after O. Ye. Korniichuk. The research methodology is based on the principle of historicism, methods of analysis and synthesis, and theoretical generalization. Scientific novelty. For the first time, Ye. Zaitsev’s activities became a special subject of research, which allowed us to reveal his role in the development of the art and pedagogical school of the Choreography Department at the Kyiv State Institute of Culture named after O. Ye. Korniichuk. New archival documents, clarifying and supplementing the available information about the activities of Ye. Zaitsev, have been introduced into scientific circulation. Conclusions. A professional choreographic education (he graduated from a choreographic school, and received the qualification “Ballet Dancer”), performing an activity (character parts in the ballet theatre), ballet master activity (co-authored two ballets; choreographer in an amateur group), teaching activity (teacher of a choreographic school, head of an amateur choreographic group) became the key to a high level of Zaitsev’s professionalism as a lecturer at the Choreography Department of the State Institute of Culture named after O. Ye. Korniichuk. Ye. Zaitsev contributed to the development of the art and pedagogical school of the Choreography Department at the Kyiv State Institute of Culture named after O. Ye. Korniichuk, conducting teaching activities during 1973–1995 based on the principles of dialogic relationships and respect, active learning, continuity and sequence of presenting the material. The publication of Ye. Zaitsev’s textbook “Fundamentals of Folk Stage Dance”, which deepened and improved the work of his predecessors, became a confirmation of the powerful scientific and methodological basis formation for the activities of the school of the Choreography Department. Promising areas of further research include conducting an Art Studies analysis of Ye. Zaitsev’s performance art, ballet performances of both large forms (ballets) and compositions created in the amateur company, and identifying the influence of Ye. Zaitsev’s methodology in the pedagogical practice of his students, etc.
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Shen, Gan, Shun Kashiwa, and Lindsey Kuper. "HasChor: Functional Choreographic Programming for All (Functional Pearl)." Proceedings of the ACM on Programming Languages 7, ICFP (August 30, 2023): 541–65. http://dx.doi.org/10.1145/3607849.
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Choreographic programming is an emerging paradigm for programming distributed systems. In choreographic programming, the programmer describes the behavior of the entire system as a single, unified program -- a choreography -- which is then compiled to individual programs that run on each node, via a compilation step called endpoint projection. We present a new model for functional choreographic programming where choreographies are expressed as computations in a monad. Our model supports cutting-edge choreographic programming features that enable modularity and code reuse: in particular, it supports higher-order choreographies, in which a choreography may be passed as an argument to another choreography, and location-polymorphic choreographies, in which a choreography can abstract over nodes. Our model is implemented in a Haskell library, HasChor , which lets programmers write choreographic programs while using the rich Haskell ecosystem at no cost, bringing choreographic programming within reach of everyday Haskellers. Moreover, thanks to Haskell's abstractions, the implementation of the HasChor library itself is concise and understandable, boiling down endpoint projection to its short and simple essence.
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Narskiy, I. V. "“The Starry Round Dance”: Mastering the Universe by the Means of Folk Choreography in the USSR of the 1960s." Вестник Пермского университета. История, no. 3(54) (2021): 38–47. http://dx.doi.org/10.17072/2219-3111-2021-3-38-47.
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In 1961, Tatiana Ustinova, the choreographer of the famous Pyatnitsky Choir, choreographed “To the Stars”, the first dance on the theme of space exploration in the Soviet repertoire. The suite, in the Russian pseudo-popular style, told of the Russian cosmonaut's encounter with the moon and stars. However, this work remained in the repertoire of the famous chorus for a relatively short time. How to assess the emergence and disappearance of this dance from the point of view of a historian? To answer this question, the choreographic event is placed within the Soviet historical context of the Thaw and the dance-artistic context of 1930s – 1960s. The paper shows that a combination of circumstances outside and within Soviet choreography was not favourable for the conjuncture of space dance in the USSR. The pathos of a break-through into the future expired soon after Khrushchev resigned, the boundless pride for the unparalleled leap forward was superseded by the bitterness of the untimely loss of the first man in space and the success of the American space programme, and the language of Soviet choreography was hopelessly anachronistic for description of a new reality. But the very attempts to portray space on the dance stage are evidence of the incredible popularity and ubiquity of the theme of space in the USSR in the early 1960s.
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Ван, Чжен. "УПРОВАДЖЕННЯ ЗМІШАНОГО НАВЧАННЯ В ХОРЕОГРАФІЧНУ ОСВІТУ". Spiritual-intellectual upbringing and teaching of youth in the 21st century, № 4 (2022): 244–46. http://dx.doi.org/10.34142//2708-4809.siuty.2022.57.
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The article considers the ways of introducing blended learning into choreographic education. Features of mixed learning and choreographic education are considered. An overview of electronic resources for use in choreography classes is given. The importance of using electronic cards, presentations, videos in choreography classes is emphasized
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Nishida, Masaki, and Amina Goro. "Dreaming, insomnia, and choreographic creativity of young female dancers: a cross-sectional preliminary study." Creativity Studies 18, no. 1 (May 12, 2025): 197–207. https://doi.org/10.3846/cs.2025.18095.
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Human creative activities have been postulated to be related to insomnia and dreaming during sleep. The current preliminary cross-sectional study investigated the associations between insomnia, dreaming, and creativity of choreography in young female dancers. Forty-six female contemporary dancers were included in the present online study and divided into two groups, creative choreographic dancers and non-choreographers, according to their experienced professional roles. The frequency and contents of dreams and nightmares were collected from the participants. In the choreographer group, the frequency of nightmares was significantly correlated with sleep duration and quality among Athens insomnia scale variables. Choreographers also exhibited a significant correlation between the frequency of nightmares and positive thinking tendencies. The non-choreographer group similarly revealed a significant correlation between the frequency of nightmares and Athens insomnia scale variables. The present results suggest that creativity in dance choreography is related to dream frequency, although it is less associated with dream content. Nightmare is less associated with subjective insomnia in creative choreographic dancers than in non-creative dancers, implying the involvement of neuro-psychological mechanisms related to the resilience process. Future research should explore the characteristics of creativity and regular sleep quality and could benefit from including external physiological measures to evaluate sleep propensities.
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Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.
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The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing cognitive and educational functions, choreographic art is inseparable from its aesthetic function: choreography lessons promote the development of visual, auditory and motor forms of sensory and emotional perception of the world. Students learn to convey the movements of the various nature of music, its dynamics, tempo, to change the movement in connection with the change of parts of a piece of music, to begin with the beginning of music. The success of artistic and aesthetic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythm, dance, fine arts, theater and plastic movements. The educational program for the specialty «Choreography» (today) is designed for eight years of study. Choreographic training of students of the choreographic department includes the following profile disciplines: classical dance, folk-stage dance, modern pop dance, gymnastics. Elective disciplines can also be chosen: historical and everyday dance, concert number staging, sports and ballroom dancing, duet dance. Related subjects: drawing, music, art history. The basis of the content of teaching choreographic art, regardless of the type and genre of choreography, is the involvement of students in active motor activity, which by nature is divided into: executive, improvisational, creative [development potential]. Students have the opportunity to realize themselves in the creative laboratories of art schools - choreographic groups and ensembles.
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Bihus, Olha. "The Phenomenon of Richard Alston's Modern Choreography." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 115–20. https://doi.org/10.31866/2410-1176.49.2023.293295.
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<strong>The aim of the article</strong> is to reveal peculiarities of the author’s style of Richard Alston’s modern dance, and to find out his contribution to the development of modern choreography. <strong>Results.</strong> Based on the analysis carried out, it is proved that there is an increasing interest in the choreographer’s creative activity, which represents the transformation of the British dance artistic aesthetics since the sixties of the 20th century. The choreographer’s favorite motifs are found to highlight two incredibly eloquent characteristics of his style, namely: coordination and ability to move with ease both at high speed and extremely slowly. It is indicated that in his own performances, R. Alston used an abstract technique in combination with a narrative, the interpretation of which required considerable mental activity from the viewer. It is noted that R. Alston’s creativity, due to the deep psychological content of his performances, can be considered as choreographic intersubjectivism. <strong>Scientific novelty.</strong> For the first time, in domestic art history studies, the creativity of R. Alston, one of the leading European choreographers of the second half of the 20th and the first decades of the 21st century, is studied; the influence of R. Alston’s creative work on the development of the British modern dance idiom is clarified; features of the choreographer’s authorial style are revealed. <strong>Conclusions.</strong> R. Alston is one of the most famous Western European dancers and choreographers of the last quarter of the 20th – the first decades of the 21st century, whose creative work integrates the leading artistic tendencies. In a number of R. Alston’s choreographic performances, certain choreographic peculiarities can be viewed. The last ones collectively form a unique style, the basis of which is the technique of M. Graham’s modern dance, classical ballet, tai chi, Merce Cunningham’s technique, and historical dances. Among the factors that influenced the formation of the choreographer’s style, the following ones can be mentioned: interest in dance and music interaction; new experimental forms that contributed to the dance fragmentation, ideas comparison to create a collage of different meanings, involvement of the viewer's intelligence; use of M. Cunningham’s decentralization of space. Formed during 1979–1980s, the master’s unique style had a huge impact on choreographic art on a global scale, as well as his creativity in the process of staging choreographic works became the basis for further experiments of modern artists. The creativity of R. Alston can be viewed as choreographic inter subjectivism due to the deep psychological content his performances. The master’s artistic innovations while studying the interaction of dance with other forms of art became a stimulus for the transformation of artistic and aesthetic principles, genre and style palette, compositional and technical arsenal of modern choreography.
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Kasianenko, Liudmyla. "Theoretical "Instruments" of the Choreographic Creative Work Studying on the Basis of Musical Texture." Bulletin of KNUKiM. Series in Arts, no. 41 (December 30, 2019): 77–87. https://doi.org/10.31866/2410-1176.41.2019.188643.
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The purpose of the article is to consider the theoretical and educational way of treating the issue of choreographic skills formation in the process of specialist training; validate theoretically the studying methods of the basis of choreography on the analysis of musical texture in specialized higher educational establishments of Ukraine. The research methodology. The method of analysis for understanding of the diversity of psychological states transmitted by music has been the determining methodological principle. The method of systematization and generalization of theoretical and empiric data has been applied to validate the scope of the term of musical texture as the sound material of the work, which includes all sound, timbre and metro-rhythmic relations. The method of selection and interpretation of musical material in ballet performances has also been used. The scientific novelty of the article is a profound study of the basis of choreographic creative work based on the analysis of musical textures for a better understanding and analysis of the musical origins of artistic vision of outstanding ballet masters. Conclusions. Analysis of musical texture allows opening a new layer in the study of the basis of choreographic work. Multilevel musical ear training contributes to the highly professional work on performances during the selection of musical material, as well as in the process of its realization in choreographic act. The article defines that ballet study more often addresses the musical terminology. The terms for studying the relationship between musical texture and choreography, proposed by the author of the article, primarily are a pattern of musical and textured choreography of dance, and a rhythmic pulse of a dance combination. The characteristic of the dance, where the proposed terminology is used in the perspective of studying of the musical texture, complements the scale of techniques and methods used by the choreographer to produce and analyze the musical and choreographic image.
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Bigus, Olga. "Interpretation of Classical Ballets in the Radu Poklitaru's Works: a Philosophical and Ideological Paradigm of Modern Ballet." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 150–55. https://doi.org/10.31866/2410-1176.44.2021.235406.
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The purpose of the article is to identify the features of R. Poklitaru’s interpretations of classical ballets in the context of the choreographer’s philosophical and ideological paradigm. The research methodology for studying the characteristics of interpretation of classical ballets on the example of the work of the leading choreographer, founder and artistic director of the Kyiv Modern-Ballet Theatre Radu Poklitaru is carried out using the following methods: historicism is to identify the features of cultural and artistic trends of our time, the typological method is to determine the specifics of the interpretation process in choreographing), the method of stylistic approach is to understand the basics of ballet-master’s choreography). Scientific novelty. There are well-researched features of ballet classics rendition by R. Poklitaru; analysis of the concept of “interpretation” in contemporary choreography; the article seeks to conceptualise the innovation of approaches to classical ballets rendition in the context of the choreographer’s philosophical and ideological paradigm. Conclusions. In the postmodern paradigm of R. Poklitaru’s work, we found that in his work, the choreographer goes not just by the desire to modernise the classical work, actualise it by integrating topics understandable to the 21st-century viewer, but the purpose to get the core message, get the author’s point across a specific context. The choreographer’s philosophical and ideological views determine not only the ballet transcension classical system and the renewal of the choreographic language but also the expansion and renewal of the vocabulary of contemporary choreography, its plastic forms for understanding the psychology of human relations. Modernising the classical ballet theatre in the understanding of R. Poklitaru is a means of enhancing the emotional impact on the viewer. However, to touch the subtle conception, the artist must be adequate to the time he creates.
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Blahova, Tetyana. "FORMATION OF CONCEPTS OF PROFESSIONAL BALETMAYSTER IN THE CONTEXT OF DEVELOPMENT OF UKRAINIAN HOREOGRAPHIC EDUCATION." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 140–51. http://dx.doi.org/10.33989/2226-4051.2018.17.176293.
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The article analyzes the essential features of the profession of choreographer, substantiates the value of the artistic and pedagogical heritage of the outstanding Ukrainian choreographers of the 20th century in the development of choreographic education in Ukraine; their ballet master's works are summarized, leading tendencies of professional activity; A complex of innovative artistic and aesthetic principles of work in choreographic collectives is described.The ballet master's activity as a specific kind of artistic activity is interpreted as a complex multidimensional phenomenon in the field of professional choreography, which is embodied in the process of creative work with choreographic material. The diverse work of the well-known Ukrainian choreographers nourished the field of professional dance with scientific ideas and practical achievements, determined the strategies of its development, content, technologies, methods of work, becoming the driving force in the formation of theoretical and practical regulation of choreographic pedagogy. The retrospective of the ballet master's experience of Ukrainian choreographers allows us to generalize its specifics and determine the essential features and directions through the prism of creative activity of well-known representatives of this specialty. The content of the professional meanings of the Ukrainian choreographer combines a combination of the essential characteristics: of the philosophical and artistic position, individual choreographic handwriting, creative style, performing style, a set of expressive means. They are realized in different directions of activity. The well-known Ukrainian choreographers have substantially expanded the system of basic concepts of the choreography profession by synthesizing the achievements of several generations in the field of folk dance production, substantiating their authoritative technologies of his practical and theoretical generalization.
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Kwan, SanSan. "Even as We Keep Trying: An Ethics of Interculturalism in Jérôme Bel's Pichet Klunchun and Myself." Theatre Survey 55, no. 2 (April 11, 2014): 185–201. http://dx.doi.org/10.1017/s0040557414000064.
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In 2004, Singaporean presenter Tang Fu Kuen commissioned French avant-garde choreographer Jérôme Bel to create a work in collaboration with classical Thai dancer-choreographer Pichet Klunchun. The resulting piece is unlike most intercultural collaborations. In the world of concert dance, East–West interculturalism takes place in a variety of ways: in costuming or set design, in theme or subject matter, in choreographic structure, in stylings of the body, in energetic impetus, in spatial composition, in philosophical attitude toward art making. Bel's work, titled Pichet Klunchun and Myself, does not combine aesthetics in any of these ways. In fact, the piece may more accurately be described not as a dance but as two verbal interviews (first by Bel of Klunchun and then vice versa) performed for an audience and separated by an intermission. There is no actual intermingling of forms—Thai classical dance with European contemporary choreography—in this performance. The intercultural “choreography” here comprises a staged conversation between the artists and some isolated physical demonstrations by each.
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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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Blumenfeld, Alice. "Beyond compás: Stepping outside flamenco’s performance norms." Choreographic Practices 13, no. 1 (July 1, 2022): 9–24. http://dx.doi.org/10.1386/chor_00039_1.
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This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the cuadro (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, improvisation outside the cuadro setting and even outside flamenco music opened new movement possibilities and ways to inform, deepen and step back into flamenco structures in my own work. I show how I created new choreography from combining movement knowledge and vocabulary from both inside and outside of the cuadro in choreographed flamenco performances for the theatre.
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Verhovenko, Olha. "The Importance of Robert Vizyrenko-Kliavin and Dmitro Kliavin's Work for the Development of the Ballet Art of Ukraine in the Second Half of the Twentieth and the Beginning of the Twenty-First Century." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 4, no. 2 (November 8, 2021): 123–31. https://doi.org/10.31866/2616-759X.4.2.2021.243239.
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The purpose of the article is to study the stage achievements of Robert Vizyrenko-Kliavin and Dmytro Kliavin in the context of their artistic, teaching and choreography work. The research methodology includes the use of the following research methods: general historical (to study the historical processes that took place in the ballet environment in Ukraine in the second half of the 20th and early 21st century), historical and cultural (to study choreography culture for the performing and choreography of that period), analytical (to study the scientific and cultural, art and theatre literature), system (to summarise information about the Robert and Dmytro Kliavin’s artist becoming on the stage of the National Opera of Ukraine), etc. The scientific novelty of the publication is that it first considers the artistic, teaching and choreography work of dancers of the Kliavin dynasty, which significantly influenced the development of ballet culture in Ukraine in the second half of the 20th and early 21st centuries. Conclusions. Robert Vizyrenko-Kliavin created more than twenty original stage images in ballets for academic heritage and performances of Soviet ballet classics. During a 20-year choreography activity, the choreographer staged seven ballets and participated in the directing of choreographic shows in several operas. The dance’s acting skills did not escape the attention of Soviet directors, who allowed the artist to express himself in the field of cinema – he acted in five roles in fiction (2 of them were ballet films). R. Vizyrenko-Kliavin put a lot of professional effort into forming the national men’s performing school: he devoted more than 20 years to work at the Kyiv State Art University. The experience gained by R. Vizyrenko-Kliavin was actualized and developed by his son Dmitro Kliavin, who created about 40 bright characteristic parties on the Taras Shevchenko National Opera stage. The choreographer’s activity of the artist, awarded in 2019 by the A. Shekera Prize for achievements in the field of Ukrainian Choreography. Teaching took a rightful place in the work of D. Kliavin. He went into teaching at the Kyiv State Art University and now works at the Serge Lyfar Kyiv Municipal Academy of Dance.
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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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Khokhlova, Daria. "Ballet "The Taming of the Shrew" by Jean-Christophe Maillot: peculiarities of authorial interpretation of the images of Katherine and Petruchio." Человек и культура, no. 1 (January 2022): 32–50. http://dx.doi.org/10.25136/2409-8744.2022.1.37356.
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The subject of this research is Jean-Christophe Maillot&rsquo;s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text &ndash; W. Shakespeare&rsquo;s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Krasovskaya, Slonimsky, and Surits. The works by Lopukhov serve as the methodological basis for analysis of the shape and choreography. Other sources include video materials from the archives of Monte Carlo Ballet and Bolshoi Theater, recordings of staged rehearsals that took place from April to June 2014 (author's archive). The research employs the methods of ideological-artistic analysis, semantic analysis of construction and choreographic solution of the roles of Katherine and Petruchio, as well as method of included observation (personal participation in the performance). The novelty lies in revealing the innovative and modernized classical elements of choreography and staging developed by Maillot (leitmotif plasticity combinations, transforming symbolic moves). The detailed semantic analysis of the composition and choreography f the images of Katherine and Petruchio became the main instrument of research and allowed making the following conclusions. Interpretation of the images of the protagonists in the first act is conceptually similar to Shakespeare's text and slightly adapted in accordance with the expressive potential of ballet art and authorial artistic tasks. In the second act, the choreographer shifts the compositional and plotline focus, highlighting not the final scenes, but the full-scale duet of the protagonists, where the plasticity solution is transformed depending on the changes in their emotional states. Namely abstract and visual plasticity ideation individualizes the choreographic style of Maillot and underlies his interpretation of the profound plotline of Shakespeare's comedy.
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PLAKHOTNYUK, Oleksandr. "IMPLEMENTATION OF THE EDUCATIONAL AND SCIENTIFIC PROJECT “CHOREGRAPHIC ART IN UKRAINE AND THE WORLD: TRADITIONS AND DEVELOPMENT TRENDS”." Bulletin of the Lviv University. Series of Arts Studies 218, no. 24 (2023): 151–62. http://dx.doi.org/10.30970/vas.24.2023.151-162.
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An analysis of the implementation of educational-scientific projects in choreographic art, the issue of studying and researching the process of formation of choreographic culture in Ukraine using the example of cycles of educational-scientific projects and creative-artistic forums from the specialty Choreography was carried out. Attention is paid to the topical issues of the formation and popularization of choreographic studies not only in the system of higher education, but also in all branches of choreographic education, including amateur choreographic groups and colleges of culture, taking into account the unique expressive and pictorial qualities of dance and regional peculiarities of Ukraine, as well as the awareness and understanding of the importance of development Choreography specialty, as a distinctive artistic direction of educational services and professional identity. The purpose of the work is to analyze the implementation of a cycle of educational-scientific projects and creative-artistic forums on choreographic art initiated by the Department of Directing and Choreography of the Faculty of Culture and Arts of Ivan Franko National University of Lviv. Formulation of research goals: the study of processes that will contribute to the growth of motivational processes for the study of choreographic art in all areas of activity of the specialty 024 “Choreography”. The research methodology consists in the application of methods of objectivity, historicism, during the analysis of normative and legislative provisions of Ukraine, comparative and cultural-artistic analysis of perspectives and trends in the development of dance culture and choreographic education. The specified methodological approach makes it possible to reveal and consider the issue of possible directions for the study of the problems of the research nature of the dance culture of Ukraine in all its manifestations, a thorough scientific analysis, the interaction and the role of regional peculiarities of the choreographic art of Ukraine. The method of objectivity and historicism provides an opportunity to trace the dynamics and prospects of the development of educational, artistic and scientific reflections in dance culture and choreographic education. The comparative method was applied in the study to identify signs of the formation of potential positive practices in the space of contemporary cultural and artistic events and educational and scientific projects. Scientific novelty of the work. An analysis of the implementation in Ukraine of a cycle of educational-scientific projects and creative-artistic forums on choreographic art initiated by the Department of Directing and Choreography of the Faculty of Culture and Arts of Ivan Franko National University of Lviv was conducted. Conclusions: The educational and scientific project “Choreographic art in Ukraine and the world: traditions and development trends” is important for expanding the understanding, study and popularization of choreography as an art form. The project made it possible to expand knowledge about choreography in Ukraine and the world, giving listeners and the public the opportunity to familiarize themselves with various traditions and trends in world choreographic art, because studying the traditions of choreography contributes to the preservation and reproduction of cultural values and national traditions in the artistic sphere. Research and analysis of modern trends in choreography allows to identify directions of development of this field of art, which can be important for planning future educational and creative initiatives. The project contributed to the cultural exchange between different centers of choreographic art of Ukraine, highlighting the similarities and differences of choreographic traditions, which can have a positive effect on cooperation. Implementation of projects may include modern approaches to education, such as the use of online resources, interactive technologies and practical master classes. The project contributes to the development of the scientific community in the field of choreography, stimulating the exchange of ideas and research discoveries.
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Bakalo, Liudmyla. "Accompanist's Activity as a Factor of Formation of Aesthetic Views of Choreography Students." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 135–44. https://doi.org/10.31866/2410-1176.37.2017.155624.
Full textAbstract:
The purpose of the article is to explore and analyze the features of accompanist's activity in the context of higher choreographic education in Ukraine, as well as to study its impact on the formation of aesthetic views of choreography students. The research methodology consisted in the organic set of basic principles of research: objectivity, historicism, systematicity, integrated approach, development and pluralism; to fulfill the purpose of the research, the following methods of scientific knowledge were used: problem-chronological, concrete-historical, statistical, descriptive, and logical-analytical. The scientific novelty of the work lies in a comprehensive study of accompanist's activity in the context of the features of higher choreographic education in Ukraine and the determination of factors of its influence on the formation of aesthetic views of choreography students. Conclusions. Accompanist’s activity in the process of formation of aesthetic views of choreography students depends on many factors, including the appropriate musical arrangement of classes, which helps to approach a piece of music meaningfully, learn to understand the type of music, its rhythmic pattern and dynamics, which, therefore, contributes to the formation of aesthetic tastes; a highly professional level of performing musical compositions and the accompanist’s commitment during classes, fluency in using the knowledge of the theory and history of choreographic art, which certainly are an important component of the pedagogical aspect of the activity; personal psychological qualities of the accompanist-choreographer, which affect the emotional state of the teacher and the students during classes; their own ethical and moral values, a high level of aesthetic education and spiritual needs of the accompanist, which, along with exceptional theoretical knowledge, talent and perfect technical skill, create the necessary conditions for a harmonious combination of dance and music, and therefore contribute to the enrichment of the inner world, the formation and development of aesthetic views of choreography students.
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Barry, Olivia. "Tracing the felt image to thought: A somatic turn towards the nature of the creative process in country dance choreography." Journal of Dance & Somatic Practices 14, no. 2 (December 1, 2022): 249–61. http://dx.doi.org/10.1386/jdsp_00083_1.
Full textAbstract:
Creative processes used to choreograph country dance are distinguishable from those utilized in other dance movement systems. Described here is my experience of a novel approach within somatic education – one reflecting on the nature of the creative process in country dance choreography. My primary aim was to trace a distinctive moment when feeling translates into a later communicable thought. In country dance choreography, this is known as the hook. Over the course of two months, I developed my own experiential somatic practice under the guidance of leading dance, science and somatics practitioner-researcher, Dr Glenna Batson. I engaged in this form of embodied practice in order to explore somatics as a method for conducting research as well as aiding in my own creative process as a country dance choreographer. Through the process of anarchiving, harvesting and tracing moments from my somatic experience, I found key correlations and contrasts between somatics and country dance.
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Jhosua, Divany Rico, and Mamik Widyastuti. "ELEMEN-ELEMEN KOREOGRAFI DAN REFLEKSI DALAM SAJIAN KARYA TARI TUNJUNG PUTIH." Greget 20, no. 2 (March 16, 2022): 188–202. http://dx.doi.org/10.33153/grt.v20i2.4143.
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Tunjung Putih dance by the choreographer; Divany Rico Jhosua in 2020 is a new traditional art whose dance work creation is motivated by the problem of social discrimination experienced by cross-dressers and cross-gender dancers. The idea of creating this work is the story of Wrahatnala's character while posing as a woman and acting like a sissy. To find out the elements of choreography in Tunjung Putih dance, the author uses the concept presented by Y. Sumandyo Hadi, namely the explanation of the concepts of cultivation through the elaboration of choreographic elements. The result of this study is to know the form of Tunjung Putih dance through the description of 11 elements of choreography in it. Reflection of the creation of Tunjung Putih dance in the form of critical analysis with further research to respondents on issues and responses related to the presentation of this dance work.
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Drach, T. "Folk-modern dance as the method of development choreographic skills for performers in aerial acrobatics and pylon sports." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 8(153) (August 30, 2022): 42–44. http://dx.doi.org/10.31392/npu-nc.series15.2022.8(153).10.
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Aerial silks and pylon sports are technical and aesthetic directions that help develop the physical qualities of the performer, but it is possible to improve their choreographic skill, which is a component of theperformance, due to the folk-modern classes. Due to the classes in choreography, children and adults improve their performing skills, develop artistry and character, in the process of forming technical qualities. Folk dance develops the performer's acting skills, helps to get acquainted with different types of performance and create a unique national style during the performance of aerial acrobatics. Performance with the use of folk choreography are more emotionally saturated, bright, characteristic, they convey the feelings of the performers, their belonging to a certain national stratum. Therefore, the purpose of our research is to determine the influence of folk-stage and folk-modern choreography on the development of performing abilities in aerial acrobatics and pole sports. The issue of choreographic training of athletes in technical and aesthetic sports, such as artistic and athletic gymnastics, figure skating, synchronized swimming, etc., as well as the involvement of folk and stage choreography in this process, was studied by such scientists as Rumba O.H. (2006), V.Yu. Sosina (2009), V.G. Todorova (2018) and others. Methodological recommendations in folk-stage choreography were studied in the work of modern scientists on folk-stage choreography, such as E. Zaitsev and Yu. Kolesnichenko (2007), etc.The issue of the development of such directions as pylon sports, aerial silks, rings, and hammocks was studied by scientists such as Hanna Oleynyk (2017), Irina Kartali (2018), Steven Santos (2013), Pony Poison (2013), and others. However, the question of using folk-modern as a method of choreographic training of performers in aerial acrobatics and pole sports has not been raised in modern literature yet. Due to our research, we have studied in detail the conducted scientific works devoted to the application of folk-stage choreography in the process of training performers in technical and aesthetic sports, and developed a program for improving choreographic skills in such areas as aerial acrobatics and pylon sports.
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Айвазова, Е. С. "Элементы хореографии в процессе физического воспитания студентов". ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ 70, № 4 (2021): 6–9. http://dx.doi.org/10.18411/lj-02-2021-115.
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The article considers the place of choreographic training in the process of physical education of students. The concept of choreography and its elements, as well as methods and techniques of physical education of students by means of choreography are revealed.
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Bashkir, Olha, Oksana Zhukova, and Bi Yun. "The Competence Paradigm of the Future Teacher of Choreography: the Experience of the PRC." Professional Education: Methodology, Theory and Technologies, no. 16 (November 30, 2022): 43–58. http://dx.doi.org/10.31470/2415-3729-2022-16-43-58.
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The issues of professional training of future teachers of choreographic disciplines have always aroused the researchers’ interest. A number of historical and pedagogical, experimental studies highlight the issues of training, forming the readiness of specialists in choreography. However, comparative studies, where the comparing of the experience of the leading countries of the world in training specialists in a particular specialty is progressive and contributes to the adaptation of the best practices in the work of the higher education institutions, are gaining significant demand among scientists. The training of future choreography teachers in the People's Republic of China (PRC) is of interest in terms of the traditions that have accumulated in this country over the centuries. The purpose of the article is to determine the components of the competence paradigm of the choreography teacher of the People's Republic of China for the purpose of their implementation in the progressive experience of training choreographers in Ukraine. The methodological basis of the research has a complex nature, combining the following methods: historical, system and analytical, contextual, comparative. Results. Based on the study of literature, the authors of the article determined that the training future teachers of choreography for professional activities is an integral, holistic creation of the personality of a specialist, which includes readiness to carry out professional activities on the basis of special choreographic knowledge (history, theory and practice of choreographic art, methods of implementation and teaching different types of choreography (classical, modern, folk stage dance, etc.), modern directions of choreographic art); skills (choreographic skills, the ability to use the basics of the theory and methodology of choreography in innovative professional activities, to improvise, design and implement the educational process of choreographic training, taking into account the socio-cultural situation and the level of development of the choreographic abilities of the children's choreographic group in the education system in real and virtual fashionable dance movements, create dance repertoire of different levels of complexity in accordance with the social and cultural needs of society); abilities (artistic and creative, artistic and aesthetic, artistic and mental, artistic literacy, team building, self-development based on the reflection of the results of their professional activities, the ability to use educational and communication technologies, find and use information from various sources (electronic, written, archival and oral)); professional and personal qualities (creative independence, performance and emotional mobility, stage improvisation, tolerance, empathy, spirituality, etc.). Conclusions. It is determined that in addition to the knowledge, skills, abilities and qualities indicated above, the competent paradigm of the future teacher of choreography is cultural, cross-cultural, artistic, professional-artistic and artistic-stage competence.
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Turchak, Lesia. "Creativity of O. Gerdan-Zaklynska within the development of Ukrainian and world choreographic culture." Culturology Ideas, no. 21 (1'2022) (2021): 93–101. http://dx.doi.org/10.37627/2311-9489-21-2022-1.93-101.
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The article investigates creative activity of one of the V. Avramenko’s well-known students, Galician choreographer O. Gerdan-Zaklynska in homeland and in emigration. It analyzes her contribution to the development of "expressive" dance in the first half of the 20th century within the specificity of Ukrainian choreographic art. The performing and pedagogical activity of the choreographer is considered in the context of the preservation and development of the national historical and cultural heritage. It is stated that the direction of creative and pedagogical activity of O. Gerdan-Zaklynska in emigration speaks of the desire not only to preserve individual spiritual values and achievements of Ukrainian dance culture, but also to popularize them and concurrently contribute to the synthesis of Ukrainian and foreign choreography. Synthesizing the best traditions of national art with the innovative experience of Western European choreography, O. Gerdan-Zaklynska presented a unique Galician style of performing modern dance at the global level. While searching for the originality and authenticity of Ukrainian folk-stage dance, she invented the so-called motor symbols that contributed to the formation of a new coding of dance.
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Bigus, Olga, Oleksandr Chepalov, Iryna Herts, Liudmyla Mova, Liudmyla Khotsianovska, and Olha Babych. "Trends in the Development of Choreographic Education in Ukraine in Conditions of Digitalization: Standards, Innovative Models." Journal of Curriculum and Teaching 12, no. 5 (October 16, 2023): 112. http://dx.doi.org/10.5430/jct.v12n5p112.
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The aim of this work is to analyze the trends in the development of choreographic education in Ukraine in the context of digitalization, as well as to identify standards and innovative models for further development. Scientific methods of analysis, synthesis, and deduction were used to study the mentioned problems. The results demonstrated the current standards of training of choreographers in Ukraine, the peculiarities of the implementation of digitalization, and its impact on innovative methods of teaching choreography. The importance of using the European experience in the formation of cooperation between educational institutions and potential employers has been proved. The indicated borrowing of experience will make it possible to adapt the Ukrainian training conditions of choreographers to modern educational trends, harmonize individual stages of training and generally increase its level, quality and balance. In Ukraine, the unique approach to innovative choreographer training lies in imparting a diverse range of combinations, predominantly showcasing Ukrainian choreographic displays enriched with a harmonious blend of European traditions. The conclusions noted that further relevant trend of innovative development of choreography education in Ukraine will be attempts to harmonize the Ukrainian and European training systems.
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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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PLAKHOTNYUK, Oleksandr. "THE MEANING OF INTRODUCING OF THE STANDARDS OF THE HIGHER EDUCATION IN THE AREA OF EXPERTISE 02 “CULTURE AND ARTS”, SPECIALTY: 024 “CHOREOGRAPHY”." Bulletin of the Lviv University. Series of Arts Studies 103 (2021): 51–59. http://dx.doi.org/10.30970/vas.22.2021.12180.
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The queStion about forming, Study and inveStigation of the process of the formulation of the choreographic culture in Ukraine on the example of the introduction in the syStem of higher choreographic education of certain Standards is considered. The queStion concerning the importance of spreading and popularization of choreography encountering its unique definitely expressive and regional peculiarities of Ukraine, also the awareness and underStanding of the importance of the development of the choreography specialty as the diStinctive art specialty is highlighted. Thesis objective – the analysis of the meaning of introduction of The Standards of the higher education in the area of expertise 02 “Culture and arts”, the specialty: 024 “Choreography”. The formulation of the objectives of the investigation: the inveStigation of the processes which influenced the growth of the qualitative process of the education in the specialty 024 “Choreography” as a result of the introduction of The Standards of higher education. The methodology of the inveStigation lies in the implementation of the methods of the objectivity, hiStorism, normative and legislative Statements of Ukraine, in the comparative and art cultural analysis of the perspectives and tendencies of the development of the dancing culture and choreographic education. The abovementioned methodological approach allows to reveal and submit to the consideration the queStion of possible directions concerning the Study of the problem of the formulation the qualitative educational service for the applicants of the higher education through the possibility of following and implementing of The Standards of the higher education in the educational process nowadays . Also, the methodology lies in the profound scientific analysis, the interactions and role of the autonomy of the inStitutions of the education in the correlations with the educational programs with The Standards. The method of the objectivity and hiStorism gives the possibility to monitor the dynamics and the perspectives of the development of the art educational processes of the dancing culture in the choreographic world. The comparative method is implemented in the inveStigation for identifying the features of the formation of the potential positive practices in the space art cultural events of the modern world. The scientific novelty of the given thesis: the analysis of introducing in Ukraine the independent specialty 024 “Choreography” the area of expertise 02 “Culture and art” (following the methodological recommendations issued by The Ministry of Education and Science of Ukraine) is provided what leads to operative development of The Standards for all the levels of the higher education (Bachelor, MaSter, Doctor of Philosophy), approved by The MiniStry of Education and Science of Ukraine. Summaries: the preparation of the professional choreographer – it is a long lasting and complicated process. In fact, the Study for educational programs of the specialty 024 “Choreography” in the higher education institution – it’s a final stage which is preceded by the classes in junior choreographic ensembles, art schools, ballet studios, choreography schools and colleges. This process lasts approximately from 5 to 8 years. The results of creativity entrance examinations indicate the high level of preparation of the future higher education applicants of the given specialty. “The choreography and their desire to get the diploma” – that what the applicants note in their motivational letters. The Choreography specialty differs from the other specialties by its peculiarities of its organization of Study process which has nothing in common neither with “Performing arts”, nor with “Music art”. This is confirmed by the requirements of the creativity teSting of the applicants, including the high requirements to physically anatomic development of the future student, his/her body constitution. Any kind of deviations in health status may lead to the deepening of the disease. All, who study the choreography they undergo the medical examinations; the applicants must master the complicated technical-coordinative basis of performing the dance movement, which can be obtained by years of preparation and therefore is checked at the entrance examinations; for the future dancer it is important to have the developed musical-rhythmic perception of music material which can be reached by the overall syStem of special musical dancing exercises Starting from the early childhood in the subject “Rhythmics and dance”. At the final state teSt the graduates demonstrate: the possession of the performing dance skills and high level skills to perform complicated dance pa; the skills to transmit the artiStic images by means of the choreographic art, the possession of acting skills on more complicated level without words, pantomime, template geSture, the possibility to transfer the idea of the director, the author of the choreographic performance, only by the plaSticity of dance movement and inner emotional indulgence; the apprehension of the aeSthetics, art vision; the skills to create self-made artwork, to perform the dance, to present the conception of conceived artwork. Indeed, atteStation State qualification exam (exams) of the specialty Choreography suggeSts the public demonStration of the level of the adopted performing competencies. The graduate demonStrates the extent to which he/she developed his/her skills according to program learning outcomes, especially performing maStery, physical development, and great amount of vague art theoretic knowledge in the area of expertise “Culture and art”, pedagogics, psychology, and others. Ukraine reached a high level of choreographic education in the area of expertise in the specialty Choreography, the basis of choreology is formed as the scientific area of expertise of the dance development in Ukraine.
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TARANTSEVA, O. "DIDACTIC MODEL OF TEACHING CLASSICAL DANCE IN PROFESSIONAL TRAINING OF FUTURE TEACHERS OF CHOREOGRAPHY." Pedagogical Sciences, no. 80 (December 29, 2022): 76–80. http://dx.doi.org/10.33989/2524-2474.2022.80.278221.
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In the article, the author reveals the relevance of the problem of teaching classical dance in the professional training of future choreography teachers. A set of didactic conditions for teaching classical dance in the system of professional training of future teachers of choreography was determined: strengthening the cognitive interest of choreographer students in classical dance; visualization of methods of teaching classical dance in the system of professional training of future teachers of choreography; creation of modern educational and methodological support for the independent work of future teachers of choreography. A didactic model of classical dance teaching in the professional training of future choreography teachers was developed, which is presented as a set of three blocks (methodological-target, content-technological and control-evaluative).
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Petkovski, Filip. "Choreography as Ideology: Dance Heritage, Performance Politics, and the Former Yugoslavia." Dance Research Journal 55, no. 1 (April 2023): 98–119. http://dx.doi.org/10.1017/s0149767723000013.
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In this article I discuss the process of choreographing “traditional” and “folk” dances in the former Yugoslavia, aligned with Yugoslav socialist ideologies that glorified the collective cultural authorship of the people, which allowed for these dances to adopt a new dimension as they took the form of a choreographed spectacle. I explain how Yugoslav choreographers utilized archival research to create a repertoire of choreographic representations of Yugoslav identity in constructing what I theorize as heritage choreography. Reflecting on how ideology moved the collective body of the Yugoslav people through choreographed works deemed as heritage, I broaden the understanding of choreographing that differs from Western concert dance practices. Furthermore, I provide alternative examples of dance making that are rooted in local understandings of spectacle, thereby enriching the conversation about what the act of choreographing entails.