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Artículos de revistas sobre el tema "Choreography"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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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 o

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2

Monni, Kirsi. "Rethinking Conceptual Parameters of Choreography (in Social Spaces)—Actualization of Intensities in Discursive Fields." Arts 13, no. 2 (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 orga

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3

Liu, Xinyu. "Thought, Technique, Emotion: The Three Crucial Aspects of Choreography." Highlights in Art and Design 8, no. 1 (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

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4

Petkovski, Filip. "How to Choreograph a Socialist Society?" Arts 13, no. 1 (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 me

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5

Leon, Anna. "Between and within choreographies: An early choreographic object by William Forsythe." Dance Articulated 6, no. 1 (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

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6

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 cho

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7

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

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

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8

Hutnyk, Iryna. "Ballet Master's Work of Oleksii Homon in the Context of Folk Stage Choreography of Ukraine." Dance Studies 4, no. 2 (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

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9

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 choreographe

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10

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 pro

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11

Gutkovskaya, Svetlana. "Intonation as a Source of Information for the Creator of Choreographic Composition." Dance Studies 2, no. 1 (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 stage

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12

Hannuksela, Riina, Sydney Erlikh, and Kelsie Acton. "Choreographing the disabled spectator: Disrupting audience expectations in Dancer and rampa landscape." Choreographic Practices 15, no. 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.

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13

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

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

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14

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 (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 s

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15

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 yea

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16

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 a

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17

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

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18

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 tact

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19

Hall, Joshua M. "Sociohistorical Self-Choreography: A Second Dance with Castoriadis." Culture and Dialogue 7, no. 1 (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

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20

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 “T

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21

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 (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 education

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22

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 (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 an

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23

Shen, Gan, Shun Kashiwa, and Lindsey Kuper. "HasChor: Functional Choreographic Programming for All (Functional Pearl)." Proceedings of the ACM on Programming Languages 7, ICFP (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 sup

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24

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

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25

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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26

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

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

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27

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 c

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28

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

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29

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 da

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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

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31

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

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

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32

Kwan, SanSan. "Even as We Keep Trying: An Ethics of Interculturalism in Jérôme Bel's Pichet Klunchun and Myself." Theatre Survey 55, no. 2 (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, doe

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33

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 v

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34

Blumenfeld, Alice. "Beyond compás: Stepping outside flamenco’s performance norms." Choreographic Practices 13, no. 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, im

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35

Bidyuk, Dmytro. "Professional Training of Choreography Students in European Universities." Comparative Professional Pedagogy 8, no. 4 (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

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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 (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 thea

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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, Kr

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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

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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.

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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, descr

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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 (2022): 249–61. http://dx.doi.org/10.1386/jdsp_00083_1.

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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 practit

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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 (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 stud

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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 aer

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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 scient

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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

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

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

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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 (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

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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 analysi

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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 f

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Petkovski, Filip. "Choreography as Ideology: Dance Heritage, Performance Politics, and the Former Yugoslavia." Dance Research Journal 55, no. 1 (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 p

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