Ukrainian Folk Dance in Modern Interpretation by Youth: Contemporary Historiography from the Ethnic Perspective

Ukrainian Folk Dance in Modern Interpretation by Youth:Contemporary Historiography from the Ethnic Perspective

Problems of Modern Folk and Stage Choreography: Artistic Language and Motivations

The article is devoted to revealing the peculiarities of the artistic language of folk-stage choreography at the beginning of the XXI century. and to determine the specifics of the use of motifs of folk dance movements in the process of modern stage interpretation of Ukrainian dance. The article considers the processes of creating signs that make traditional Ukrainian dances unique, as well as identifies the features of their use and transformation in the context of the development of modern stage folk dance. The study found that the leading, determining role in the system of heterogeneous means of artistic language of stage folk dance belongs to the authentic dance culture. This is explained by several aspects: first, the archetypal nature of the stage dance itself, which finds expression not so much in the return to the syncretism of the archaic, but in the appeal to the inexhaustible potential of artistic and aesthetic possibilities contained in any archetype; secondly, the fact that folk-stage choreography is extremely receptive to creative pursuits and bold artistic experiments. That is why even in the most difficult, crisis moments in the history of Ukrainian culture, in the moments of its transformation and transition to a new level, stage folk dance plays a special role, because against the background of complex transformations returns Ukrainian culture national spirit, and on the other the language of folk-stage dance determines the search for new forms and meanings. It is noted that authentic Ukrainian dance, whose motives come from folk beliefs, legends, myths, rituals and ceremonies, is designed to promote the national identity of the modern generation, which is an urgent problem of socio-cultural space of the early XXI century.

What’s in a dance? Dalkhai: from a religious community ritual, to a pro-scenium performance

An educational international project, initiated by a Romanian organisation, comprising folk dances from around the world, has challenged me to go deeper into understanding one of the most popular dance forms of Western Odisha, Dalkhai. Traditionally a religion-based folk dance connected to the agrarian culture of local Adivasi communities, it has been gradually developed into a cultural pattern of Odisha, Eastern India. Considering folklore as intangible cultural heritage of humanity, according to UNESCO definition, I explore the expression of this ritual-dance, in connection to the Adivasi culture, as Dalkhai is considered the goddess of fertility, initially worshipped by the tribal people/Adivasi like Mirdha, Kondha, Kuda, Gond, Binjhal, etc., but also in its recent metamorphosis into a proscenium representation. The Dalkhai dance is becoming visible and recognised at state, national and even international form of dance, while in the Adivasis communities it is noted that the ritual becomes less and less performed. Consulting the UNESCO definitions and documents on Intangible Cultural Heritage is useful for understanding how to approach a choric ritual, involving a tradition, music and dance, enhancing the importance of safeguarding cultural diversity while confronting cultural globalization. Its approach, in accordance with ‘universal cultural rights’, emancipatory politics concerning world culture and multiculturalism, opposes the disappearances and destruction of local traditions, indigenous practices. Heritage concerns the whole community, conferring an identity feeling, and supporting the transmission to the next generations, sustainable development, often involving economic stakes, becoming essential for developing the territories (Chevalier, 2000).

Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

Festivals for Inclusion? Examining the Politics of Cultural Events in Northern Cyprus

In Northern Cyprus, cultural festivals are increasingly popular. The routinely celebrated festivals transform small villages into colourful celebrations with lots of activities and great culinary experiences, offering opportunities for social contact between members of different generations. People meet in the streets, where traditional food and handicrafts are on display and traditional folk dance performances usually take place. Cultural events provide an important space in which older generations often nostalgically remember the past with others of their generation and share their memories with the young people. Bi‐communal interactions between Turkish Cypriots and Greek Cypriots in these public spaces also help leave behind and bury the violence of the past, nationalistic dogma, and intolerance. Drawing on ideas from postcolonial theory, cultural studies, sociology, and scholarship on public art, this article develops a post‐postcolonial approach to explore the politics and value of Turkish Cypriot cultural festivals and the ways in which Turkish Cypriots are bridging differences with Greek Cypriots. Through observations, conversations, and interviews conducted with Turkish Cypriots from June 2014 to October 2017, the article also discusses the ways in which public art encourages dialogue and multicultural tolerance in Cyprus. The article argues that the rise of interest in Turkish Cypriot folk arts and multicultural tolerance, as propagated by Turkish Cypriots, should be understood in more complex terms than simply that of positive inclusion, as an ambivalence closely connected to the East/West division. Accordingly, the article illustrates that the coexistence of inclu‐ sion and exclusion are at the heart of Turkish Cypriot society.

The beauty of choreographic genius – Oleg Danovski, proponent of the national ballet repertoire

A prominent figure in national ballet, Oleg Danovski is one of the personalities of 20th century ballet. He gave the world a vast repertoire consisting of classical, neoclassical, modern ballets, Romanian ballets, and divertimentos for operas. Despite his success with classical ballet staging that would make him famous abroad, the choreographer also turned his attention to folklore, by addressing specific local themes. Thus, through this desire to study and stylize the folk dance, he brought an important contribution to the Romanian cultivated dance, from which the image of the Romanian character dance would stem. He was devoted to the idea of Romanian ballet theater and he advocated for original music for ballet, a national repertoire and the development of the Romanian ballet school. His Romanian creations are precious pages of the history of Romanian ballet that should not be forgotten, and that have enormously contributed to the enrichment of the original choreographic repertoire.

Educating activity of Oleksandr Kolosok in Kyiv National University of Culture and Arts

The purpose of the article is to cover the teaching activities of Oleksandr Kolosok at the Kyiv National University of Culture and Arts and to reveal its influence on the formation and development of higher choreographic education in Ukraine. Methodology. To achieve this goal, general scientific methods of theoretical and empirical levels are used: analysis and generalization of scientific and theoretical bases of research, chronological method, interview method. Conclusions on the peculiarities of the pedagogical activity of O. P. Kolosоk are made on the basis of the analysis of the revealed complex of sources: pedagogical, methodical and creative achievements of the artist, own experience of communication with him, memories of colleagues and students. Scientific Novelty. The article covers for the first time the teaching activity of O. Kolosоk at the Department of Choreography (later the Department of Folk Choreography) at the Kyiv National University of Culture and Arts; the teacher's work on the creation of the professional discipline "Ukrainian folk-stage dance" and the peculiarities of teaching the discipline "Art of the choreographer" are analyzed; materials of interviews with the teacher and his students and colleagues were put into scientific circulation. Conclusions. The teaching activity of Professor O. P. Kolosоk was aimed at the development of folk dance traditions in a harmonious and logical combination with the expressive means of academic choreographic art and the best achievements of the modern world performing culture. Thanks to his efforts, the discipline "Ukrainian folk-stage dance" was introduced into the system of training choreographers in the higher school of Ukraine, and today the teaching of choreographic art in higher education institutions is based on the methodological developments of folk dance theorists and practice O. Kolosоk. His work with students on mastering the art of choreography was multifaceted, and choreographer-director thinking reached deep sources of folk dance. Oleksandr Kolosok's many years of pedagogical activity were fruitful, and today many choreographers and choreographers, whom he nurtured, owe him their high professional level.

TRANSFORMATION OF WESTERN PODILLIA TRADITIONAL DANCE IN THE CONTEXT OF REGIONAL FESTIVAL MOVEMENT

The article covers the issue of transformation of traditional dance in the context of festival movement in the particular region and Ukraine as a whole. The research article analyses the functioning of art folklore festivals on the territory of Western Podillia. The study investigates the organization of art festivals of the region in historical and chronological perspective and presents the key tasks for their holding. The article partially covers the activities of some dance and folk-ritual groups of Western Podillia, which are active participants and popularisers of folk art, in particular of local traditional dances. The study reveals the issues related to the functioning and development of traditional dance in terms of folklorism, which is implemented during the «Ternopil talismans», regional festival of folk crafts, folklore and choreography, which hosts the «Ternopil Polka», festival of authentic dance (Ternopil); «Red guilder-rose», folk dance festival (Ternopil); «Bells of Lemko region», All-Ukrainian festival of Lemko culture (Bychova tract of Monastyryskyi district); «Embroidery blossoms in Borshchiv region», annual All-Ukrainian Folklore and Art Festival (Borshchiv) and other local festivals. The article highlights the importance of organizing and holding regional local holidays and folklore and art festivals in the context of the revival of the national and cultural identity of Western Podillia as an integral part of Ukraine.

The Traditional Romanian Folk Dance in Şieuţ, Bistriţa-Năsăud County, as Part of the Winter Traditions and Customs. Carol Singers and the “Beer”

"The present study focuses on the custom of “Beer”, a remarkable event that shaped the evolution of the communities that were part of the Second Romanian Border Regiment at Năsăud, a military unit of the Austrian army in Transylvania between the eighteenth and nineteenth centuries. It focuses specifically on the Şieuţ village and the detailed manner in which this social event was organized by the village’s young men between Christmas and the New Year, when young villagers could attend the “Beer”, an important occasion for social interaction. This research is based on a series of interviews with active community members from then and now and aims to offer an overview of the custom’s meaning and structure. According to tradition, during the Nativity Fast, young men would follow the call of the “bucin” and meet at the house of a host to plan the event. They were assigned the roles of “vătafi” and “colceri” who hired musicians for the event, while the “căprari” were responsible for collecting the traditional pastry received by carol singers. On Christmas Eve, they grouped and went caroling throughout the village. After the Christmas church service, the traditional folk dance (“Beer”) started at the host’s house. The traditional festive garments, the young men going caroling or the traditional men’s folk dance from Şieuţ, included in the UNESCO World Heritage, represent elements of this custom that have survived the passage of time, integrating the traditional into modern life. Keywords: Şieuţ, ”Beer”, Romanian folk dance, tradition, carol "