Folklore and Tourism: Folk Dance Groups as a Strategy to Promote the Development of Cultural Tourism

2020 ◽  
pp. 106-113
Author(s):  
Emanuel Bohórquez ◽  
Maritza Pérez ◽  
Arturo Benavides ◽  
William Caiche
Keyword(s):  
Cultural Tourism ◽  
Folk Dance ◽  
Dance Groups

APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION

2021 ◽  
Vol 6 (12) ◽  
pp. 218-226
Author(s):  
Terane MURADOVA
Keyword(s):  
Modern Dance ◽  
Stage Structure ◽  
Musical Instrument ◽  
Folk Dance ◽  
Main Condition ◽  
Successful Work ◽  
Professional Dance ◽  
Classical Traditions ◽  
Dance Groups ◽  
Different Parts

Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

DEVELOPMENT OF MUSIC FESTIVALS IN LATGALE

Via Latgalica ◽  
2013 ◽  
pp. 105
Author(s):  
Ingars Gusāns
Keyword(s):  
Modern World ◽  
Main Stage ◽  
Folk Dance ◽  
Even Start ◽  
Rock Band ◽  
Internet Resources ◽  
Time Gap ◽  
Dance Groups ◽  
Regional Associations ◽  
New Generation

The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started advertising of regional art in Latvia. It was characterized by a variety of genres and the opportunity for artists to introduce themselves to the general public on a high professional level. “Osvalds” is an entertainment festival for people of different taste. It popularizes regional associations and most up-to-date Latvian artists; the Latgalian element does occur, but it is not the main objective. “Muzykys Skrytuļs” has promoted the creation of Latgalian songs, the foundation of music groups and has given opportunity for newcomers to perform on a bigger stage. By concert records and live broadcasts this festival makes a great contribution to the development and the popularization of Latgalian identity. Latgales Mūzikas festivāls has provided an opportunity to the most famous, up- to-date Latgalian artists to perform at the festival on the main stage, thus filling a time gap within the field of Latgalian festivals. Each festival expresses the Latgalian identity in a different manner. However it can be perceived in each of them, therefore it is possible to affirm that festivals integrate, help to maintain and console the Latgalian identity. Most prominently it demonstrates to the new generation that Latgalians are a part of the modern world just like everyone else and that in order to express their cultural identity they themselves could actively participate in various folklore and folk dance groups or even start a rock band that performs in Latgalian language.

scholarly journals LIFELONG EDUCATION RELATED ISSUES OF DANCE GROUP LEADERS WITHIN THE AMATEUR MOVEMENT IN LATVIA

2017 ◽  
Vol 4 ◽  
pp. 127
Author(s):  
Rita Spalva
Keyword(s):  
Education Programme ◽  
Research Problem ◽  
Small Population ◽  
Lifelong Education ◽  
Folk Dance ◽  
Group Leaders ◽  
Group Activities ◽  
Intangible Heritage ◽  
National Centre ◽  
Dance Groups

As a country with a relatively small population (approximately 2 million), Latvia can take pride in the number of people who are practicing folk dance at amateur level. Based on 2015 information provided by the Latvian National Centre for Culture, this amateur movement counts 603 dance groups (over 12 000 dancers) and accordingly 417 dance group leaders. The main goal of dance group activities is to sustain the idea of national consciousness through the means of folk dance, which is a meaningful factor in the strengthening of national identity to progress to a modern and national country. The National Song and Dance Festival, which takes place every five years in Latvia and which is one of the UNESCO Masterpieces of Oral and Intangible Heritage of Humanity, is a significant tool for maintaining a national cultural environment within amateur dance. The festival combines artistic, national social and other functions of significance to social development. All above-mentioned conditions determined the research problem – how to develop dance group leader lifelong education programmes more successfully, in order for these to purposefully integrate participants of various levels of professionalism. The research aim is to analyse existing lifelong education contents available to dance group leaders, along with the challenges and risks they pose. The study predominantly makes use of empirical methods – lifelong education programme participant surveys and their analysis; analysis of the artistic performance of dance groups.

scholarly journals Festival Tourism of Folk Group Dancers from Selected Countries of the World

2013 ◽  
Vol 20 (2) ◽  
pp. 95-99 ◽  
Author(s):  
Marcin Bochenek
Keyword(s):  
Indigenous People ◽  
Close Contact ◽  
Heritage Tourism ◽  
Document Analysis ◽  
European Countries ◽  
Folk Dance ◽  
The World ◽  
To Come ◽  
Dance Groups

Abstract Introduction. Artistic trips and tourism are inseparable parts of the activity of folk groups associated in CIOFF® . Folk festivals organised around the world give folk groups a chance to learn about traditions and customs and to come into close contact with indigenous people. The correlation between tourism and activity of folk groups is visible mainly with regard to selected forms of cognitive tourism. The aim of the work was to present the destinations and frequency of artistic trips of CIOFF® folk groups from selected countries of the world. Trips to dance festivals abroad and their connection with heritage tourism were analysed. Material and methods. The study with the use of a diagnostic poll including a questionnaire, interview and document analysis was carried out in July and August 2010. 243 dancers and 16 instructorschoreographers of dance groups from 12 randomly selected countries of the world participated in the study. Results and conclusions. Folk festivals under the auspices of CIOFF® are organised on all the continents. Artistic trips of folk groups from 12 selected countries were most frequently organised on the “old continent”. A small percentage of dancers from European countries had an opportunity to participate in festivals outside Europe. Artistic trips of the groups were connected with heritage tourism, while travelling became one of the reasons for participating in folk dance classes.

scholarly journals Folk Dance Revival Strategies

Ethnologies ◽  
2008 ◽  
Vol 30 (1) ◽  
pp. 41-57
Author(s):  
Andriy Nahachewsky
Keyword(s):  
Organizational Structures ◽  
Folk Dance ◽  
Conceptual Frameworks ◽  
Group Leaders ◽  
Dance Groups

Abstract Ethnochoreologists are now more open to the study of folk dance revival groups, though they still lack common terminology or conceptual frameworks. Based upon the motivations and priorities of their participants, dance groups can be identified as “Enjoyers,” “Preservers,” “Presenters,” “Creators,” or perhaps “All-stars.” Several examples show how each of these strategies may impact on the organizational structures, dance forms and other aspects of the groups’ activities. These conceptual categories are presented with the suggestion that they may be useful for researchers, government policymakers, and dance group leaders.

scholarly journals FICTION IN "AUTHENTICITY" SUBSTANTIATION: HOW THE SOVIET CHOREOGRAPHERS SUBSTANTIATED FOLK CHARACTER OF THEIR WORKS

2019 ◽  
pp. 61-67
Author(s):  
I. V. Narskiy
Keyword(s):  
Soviet Union ◽  
Folk Dance ◽  
Field Collection ◽  
Soviet Culture ◽  
Professional Activities ◽  
The Soviet Union ◽  
The People ◽  
The Subject ◽  
Dance Groups

Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreog- raphers’ "ethnographic expeditions" down the country and their desire to "learn from the people" dance technique. Why did "field collection" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the invention? In the article subsequent steps are undertaken to answer these questions. Firstly, the place of amateur dance art performance in the official soviet culture and the specialists’ role of choreographic business in its development are out- lined. Secondly, there is an explanation of reasons of author’s doubts in authenticity of soviet choreographers’ numerous stories about "going to the people". Thirdly, the art of dancing soviet experts’ motives, that frequently inspired them to the fictional stories about the collection of choreographic folklore are explained. Therefore, it makes an attempt to renew folk dance soviet specialists’ logic of notion about the subject of their passion, liking and professional activities. In the issue the author comes to the conclusion that ritualized stories about the analysis of folk sources by choreographer-directors were the significant argument in corroboration of "folk roots" of the soviet choreographic creative work. As the result, in the soviet discourse of folk dance the stories about choreographic "going to the people" paradoxically made instrumentalization of fiction in substantiation of "authenticity".

The Polska: Featuring Swedish in Finland

2014 ◽  
Vol 2014 ◽  
pp. 99-105
Author(s):  
Petri Hoppu
Keyword(s):  
Twentieth Century ◽  
Nordic Countries ◽  
Folk Dance ◽  
Dance Culture ◽  
Ethnographic Fieldwork ◽  
Early Twentieth Century ◽  
Dance Groups ◽  
Special Case

The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.

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