scholarly journals UKRAINIAN DANCE CULTURE IN GEOGRAPHICAL AND ETHNOLOGICAL CONCERN ETHNOCHOREOGRAPHIC FRONTS

2021 ◽  
Author(s):  
Martyniv Olha Oleksiivna
Keyword(s):  
Ethnic Groups ◽  
Folk Dance ◽  
Dance Culture ◽  
Frontal Zones ◽  
Border Areas

The problem of zoning of Ukrainian folk dance culture and its autochthonous and influential elements, which are especially active in the border areas with other ethnic groups and peoples, namely - ethnochoreographic fronts, in areas where the most intense processes of interaction and interpenetration of multinational dance segments. In the course of the research it was revealed that frontal zones can concern not only exclusively border areas (main meso-feature), but also function in much more localized territories of even one ethnic region (micro-feature), as well as cover large geographical areas or totally spread throughout territory of the country (macro-feature). An important factor is the intensity of the spread and assimilation of non-national or non-ethnic dance cultures, which can be measured in a few cases or be mass.

A GRASP ON THE NATURE OF LUNDAYEH THROUGH THEIR TRADITIONAL DANCE CULTURE

2015 ◽  
Vol 3 (2) ◽  
pp. 1-22
Author(s):  
LEE SUAN CHONG
Keyword(s):  
Ethnic Groups ◽  
West Coast ◽  
Dance Music ◽  
Human Knowledge ◽  
The West ◽  
Dance Culture ◽  
The Core ◽  
The World ◽  
Religious Aspects ◽  
Life Philosophies

AbstrakPenduduk Lundayeh terdapat di Tenom, Sipitang dan Long Pa Sia, di sepanjang pantai barat Sabah, Malaysia. Bentuk dan sistem tarian Lundayeh telah melalui perubahan dan variasi sejak kewujudan mereka di Borneo. Artikel ini mengkaji dalam pelbagai aspek, termasuk muzik, pakaian, pergerakan, fungsi dancerita-cerita daripada tarian tradisional yang diamalkan dalam masyarakat Lundayeh hari ini di Kemabong, Sabah. Tarian tradisional Lundayeh yang masih diamalkan berdasar terutamanya kepada aspek budaya, sosial dan agama hidup Lundayeh. Kajian ini membawa kepada penemuan corak pemikiran, falsafahhidup dan perspektif dunia Lundayeh yang dipengaruhi oleh agama dan budaya purba mereka. Tarian tradisional Lundayeh berfungsi sebagai satu saluran untuk memahami sifat orang Lundayeh sebagai salah satu kumpulan etnik kecil di dunia. Pemahaman tentang sifat orang Lundayeh akan terus menyumbang ke arah perkongsian dan penemuan dalam dimensi ilmu kemanusiaan yang baru.   AbstractLundayeh populations are found in the areas of Tenom, Sipitang and Long Pa Sia, along the west coast of Sabah, Malaysia. Lundayeh dance forms and systems have gone through changes and variations since their existence in Borneo. This paper looks into a variety of aspects, including music, costumes, movements, functions and stories of the traditional dances practiced in today’s Lundayeh communities in Kemabong, Sabah. The surviving traditional dances found to have stemmed from the core of Lundayeh cultural, social and religious aspects of life. The study leads to the discovery of the thinking patterns, life philosophies and world perspectives of Lundayeh that are strongly influenced by their religion and ancient culture. Dance music ultimately serves as a tool to understand the nature of Lundayeh people as one of the minor ethnic groups in the world. The understanding of the nature of Lundayeh would further contribute toward sharing and discovering another dimension of human knowledge and wisdom.

ASPECTS OF THE THEORETICAL UNDERSTANDING OF THE FOLK AND FOLK STAGE DANCE OF ALTAI

2021 ◽  
pp. 225-233
Author(s):  
Ilya N. Zuev ◽  
◽  
Igor L. Musukhranov ◽  
Ekaterina G. Romanova ◽  
◽  
...  
Keyword(s):  
National Identity ◽  
Historical Memory ◽  
Cultural Knowledge ◽  
Educational Process ◽  
Economic Life ◽  
Modern Trend ◽  
Folk Dance ◽  
Theoretical Understanding ◽  
Dance Culture ◽  
The People

The development of Altai dance is closely related to the history of the Altai people. Modern Altai people, like other Turkic peoples of Southern Siberia, have not preserved traditional dances in the form in which they were performed in everyday life. The reason for this was that the art of dance has a spatially – temporal character and it is difficult to record it. It is necessary in the analysis of folk dance to use the instrumentation of all fields of art science, to apply a systemic and interdisciplinary approach. It is in this that the authors see a further research horizon. In modern conditions, when the self-consciousness of each people increases, choreographic art, as part of the spiritual culture of the people, responds to all the events of life. The relevance of this study is due to the modern trend of the revival of the national and cultural heritage of the Altai Republic. One of the pressing problems of modern choreography, its theoretical understanding, is the study of the origins of folk stage dance. The fact that lacunae exist in this area of historical and cultural knowledge is evidenced by the lack of textbooks, incomplete complexes of educational and methodological literature. Choreographers, both in the educational process and in staging practice, are faced with the need for a clear theoretical design, the development of a scientific apparatus in this matter. In folk dance, closely connected with the life and life of the people, the peculiarities of its character, feelings, temperament, manner of artistic thinking are especially pronounced, that is, a kind of “choreographic portrait of the nation” is created. Folk dance, plastically expresses ethnic historical experience, is a kind of artistic embodiment of the historical memory of the nation, and thus affects the strengthening of national identity. The importance of the theoretical understanding of folklore in the development of choreography (as in musical or decorative art) is difficult to overestimate. He is a source of ideas, expressive means, often becomes an aesthetic standard in the creative activities of the modern choreographer. The national identity of the dance culture of the people is connected with the stable historical community of language, territory, economic life, psychological warehouse, culture of life, customs and traditions. National art bears both the originality of what it reflects and how it reflects. All this is reflected in folk dance, affects the nature of plastic. From here, the dances of one people are not similar to those of another, and even one ethnic group, divided geographically, dances differ. For example, Russian folk dance has common features characteristic of Russian dance in general, but at the same time it also has bright regional features. Dance culture in geographically distant territories varies in character, manner of performance, and originality of drawing, and subject matter. The main difficulty in studying this issue is the difficulty of “translating” the plastic language into speech discourse. Hence the difficulty in fixing and writing the description of choreography. There may be discrepancies and misinterpretations of the records of researchers of the past due to the lack of an agreed methodology and categorical apparatus.

scholarly journals THE FRONTER AND IT’S COMPONENTS IN HISTORICAL GEOGRAPHY OF UKRAINE

2021 ◽  
pp. 113-118
Author(s):  
Viktoria Nikichuk
Keyword(s):  
Ethnic Groups ◽  
Contact Zone ◽  
Black Sea ◽  
Spatial Representation ◽  
Historical Geography ◽  
Ethnic Composition ◽  
The Black Sea ◽  
Border Areas ◽  
Border Strip ◽  
Peculiar Phenomenon

The purpose of the article is to define the concept of the frontier and its components in the historical geography of Ukraine. The concept of FJ Turner's frontier was substantiated in the researches of Ukrainian historians M. Hrushevskyі, S. Rudnytsky, and J. Dashkevych. The source base of the study consists of scientific and cartographic works of historians and geographers. Several aspects of the spatial representation of the frontier are considered – directly in the name "Ukraine", which was identified with the peripheral land and as an integral part of the Ukrainian lands – the Black Sea, the Wild Field, Sloboda Ukraine. It is established that the concept of the frontier as a border or border strip can be considered in the context of the problems of historical geography, and the Ukrainian lands are at the intersection of different border contact zones. The frontier plays a significant role in shaping the ethnic composition of the population, as the contact zone of different ethnic groups is usually formed in such frontline or border areas. A peculiar phenomenon in the context of this concept is part of the Southern Ukrainian territory – Budjak. The opinion is substantiated that the majority of the Ukrainian territory is considered to be a zone of continuous historicalgeographical and chronological frontier.

scholarly journals Folk dance: the problem of definition, demarcation and historical transformation

2021 ◽  
Vol 1 (118) ◽  
pp. 189-194
Author(s):  
Anna S. Polyakova ◽  
Keyword(s):  
Traditional Culture ◽  
Scientific Discourse ◽  
Specific Model ◽  
Folk Dance ◽  
Dance Culture ◽  
Collective Representation ◽  
Definition Of ◽  
Folk Tradition ◽  
The Relationship ◽  
Historical Periods

Folk dance is an integral part of modern choreographic culture. At the same time, the definition of its place and role in modern artistic realities is complicated not only by understanding the boundaries of this phenomenon, but also by contradictory approaches to understanding its essence. Folk dance is also understood as folk dance, or vice versa, later layers of dance culture, not associated with ritual actions. Also, some researchers put forward the thesis that folk dance is only an area for – traditional culture, as well as the phenomena of everyday dance culture that are entrenched in the folk tradition. Quite often in modern choreographic culture, folk dance is likened to the concept of «folk stage dance» – a kind of specific model of folk dance culture, created and embodied in the conditions of the stage space. And this, as will be discussed in this article, is not legitimate. All these processes are not accidental. To a certain extent, they demonstrate the difficulties in the formation of the very phenomena related to folk dance: from traditional forms to stage versions of its representation. This article defines the boundaries of the definition of «folk dance», gives its periodization in accordance with the cultural and historical periods, and also highlights the main sources of its formation. Particular attention is paid to identifying the specific features of folk dance, among which the most vividly highlighted: ritual and ceremonial basis, syncretism, synthetism, special mentality, anonymity, heterofunctional character, imitativeness, improvisational character, tradition and rules of performance, the relationship with the musical and song basis, its collective representation. The article outlines a culturological approach to further understanding the phenomenon of «folk dance» in scientific discourse.

The Politics of Territorial Claims: A Geospatial Approach Applied to Africa

2016 ◽  
Vol 71 (1) ◽  
pp. 31-64 ◽  
Author(s):  
Hein E. Goemans ◽  
Kenneth A. Schultz
Keyword(s):  
Ethnic Groups ◽  
Colonial Period ◽  
Geospatial Data ◽  
Minor Role ◽  
Data Set ◽  
Secondary Role ◽  
Border Areas ◽  
Territorial Claims ◽  
A Minor ◽  
Analysis Of Variation

AbstractWhy do states make claims to some border areas and not others? We articulate three models of territorial claims and test them using a novel geospatial data set that precisely maps disputed and undisputed border segments in post-independence Africa. The geospatial approach helps eliminate problems of aggregation by permitting an analysis of variation both within and between dyadic borders. We find that ethnic political considerations are the most important driver of territorial claims in Africa, while institutional features of the border play a secondary role. Border segments that partition ethnic groups are at greatest risk of being challenged when the partitioned groups are politically powerful in ethnically homogeneous societies. Border segments that follow well-established and clear focal principles such as rivers and watersheds are significantly less likely to be disputed, while changes to the border in the colonial period created opportunities for later disputes to arise. Power considerations or resources play only a minor role in explaining the location of territorial claims.

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

2021 ◽  
Vol 10 (4) ◽  
Author(s):  
Daria Degtyar ◽  
Keyword(s):  
National Identity ◽  
The Other ◽  
Special Role ◽  
Folk Dance ◽  
Urgent Problem ◽  
Cultural Space ◽  
Folk Beliefs ◽  
Dance Culture ◽  
Dance Movements ◽  
History Of

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.

Sign in / Sign up

Export Citation Format

Share Document