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.

Multicultural and Transnational Novels

2018 ◽  
Author(s):  
James Meffan
Keyword(s):  
National Identity ◽  
New Zealand ◽  
The Other ◽  
Colonial History ◽  
History Of ◽  
Return Home ◽  
Access Rights ◽  
The One

This chapter discusses the history of multicultural and transnational novels in New Zealand. A novel set in New Zealand will have to deal with questions about cultural access rights on the one hand and cultural coverage on the other. The term ‘transnational novel’ gains its relevance from questions about cultural and national identity, questions that have particularly exercised nations formed from colonial history. The chapter considers novels that demonstrate and respond to perceived deficiencies in wider discourses of cultural and national identity by way of comparison between New Zealand and somewhere else. These include Amelia Batistich's Another Mountain, Another Song (1981), Albert Wendt's Sons for the Return Home (1973) and Black Rainbow (1992), James McNeish's Penelope's Island (1990), Stephanie Johnson's The Heart's Wild Surf (2003), and Lloyd Jones's Mister Pip (2006).

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 Europe as the "other" of Russian historiosophical consciousness: from the middle ages to modernity

2021 ◽  
Vol 9 (1) ◽  
pp. 11
Author(s):  
D. V. Semikopov ◽  
A. A. Zakhriapin
Keyword(s):  
National Identity ◽  
Middle Ages ◽  
Western Europe ◽  
The Other ◽  
Philosophical Analysis ◽  
Folk Culture ◽  
Russian Orthodox Church ◽  
National Education ◽  
History Of ◽  
The Middle Ages

Introduction. The paper reviews the phenomenon of perception of Western Europe as the "other" in Russian intellectual tradition. The purpose of this survey is to analyze and identify the features of Russian historiosophical consciousness in the transition of Russian civilization from the middle ages to modernity in the context of the idea of perceiving Europe as the "other".Materials and Methods. The main material of the paper is a monograph by Nizhny Novgorod researches «The problem of correlation of panhuman and national in the history of Russian thought». In addition, the material of the research is the works and articles by Russians and foreign authors focus on the subject under consideration. The article used the following methods: historical-philosophical analysis, interpretation, comparison and generalization.Results. In the medieval period the main consolidating power of society was religion, which identified the «other» as the Catholic of Western Europe. During the reign of Emperor Nicholas I, the «other» is still the same West, but the revolutionary West with its slogan «Liberty, equality, fraternity». The minister of national education – the earl S.S. Uvarov, in turn, proposed the following triad – «Orthodoxy, autocracy, nationality». Formation of the Russian nationality was under intense pressure from the West (the «other» of Russian civilization) during this period. The split of the Russian Orthodox Church (Raskol) in XVII century led to destruction of the Orthodox unity. The Orthodoxy was the source of sacralisation of monarchial power. However, the autocracy, having dealt a blow tothe Orthodoxy, set a course for the Western absolutism. Certain social circles, keeping up old traditions of the Orthodoxy, perceived the political authority as the «other». This led not only to the religion split (Orthodoxy), but also to the split in nationality. A pro-Western elite is being formed and, having lost its connection with Orthodoxy and traditional folk culture, it finds itself in the desert of its own historical identity. As a result, historiosophical projects, created by government and intelligentsia, caused an additional split, being unable to restore the lost unity.Discussion and Conclusions. The authors of the research managed to make systematic and detailed historical-philosophical analysis of sources and literature on this topic. The paper presents the main concepts that explain the phenomenon of Russian national identity. This makes it possible to consider and evaluate the key ideas of Russian thinkers. As a result, the authors of the research managed to make comprehensive and systematic historical-philosophical analysis of the development of the idea of Russian national identity through the prism of the concept of perception of Western Europe as the «other» of Russia.

scholarly journals Kodeksowe pozwolenie zintegrowane a sektorowe pozwolenie wodnoprawne - doświadczenia niemieckie

2017 ◽  
pp. 115-127
Author(s):  
Jerzy Rotko
Keyword(s):  
Water Resources ◽  
Environmental Law ◽  
Theory And Practice ◽  
The Other ◽  
Water Law ◽  
Extensive Literature ◽  
Special Role ◽  
Federal States ◽  
History Of ◽  
Made In

The author takes the issue of individual administrative acts aimed at rational use of the environment. He is focused on the German experiences. The rationale for this choice is, on one hand, a considerable number of such instruments, provided especially in the water law. On the other hand it is an significant and extensive literature devoted to such instruments. Special role in the development of doctrine played the work on the code of environmental law, which was the central point of an integrated permit. Although there has been no adoption of the Code, but accumulated experiences influence the theory and practice of application of this law. Proof of this is also a history of Water Resources Act, passed in 2009. The need for the adoption of this Act was the result of the consequences of competence changes made to the constitution. These changes were made in order to allow the adoption of the Code. In the new law types of water permits known from previous regulations were repeated, but also there were added selected solutions for environmental integrated protection. That was modeled on the draft Code. It was also added one kind of permission functioning in legislation of federal states.

GENDER nonetheless like oneself. The other also has self-conscious-ness, hence the reciprocity suggested by Hegel in the inter-subjective structure. Of this structure, Hegel remarks that 'a self-consciousness, in being an object, is just as much "I" as "object". With this, we already have the concept of Spirit. . . Spirit is . . . the absolute substance which is the unity of the different independent self-consciousnesses . . . Self-con-sciousness exists in and for itself, when, and by the fact that, it so exists for another, that is, it exists only in being acknowledged'. Thus Geist names the unity of distinct self-reflexive subjects qua social unity. Moreover, Hegel's think-ing on Geist implicitly shows how the concept is fundamen-tally empty unless it comes into being as a result of a hermeneutics of self-conscious reciprocity. Such a determi-nation on Hegel's part is what allows him to propose human history as a history of spirit, where spirit comes to manifest itself in and through the conscious relationships of human beings who acknowledge their shared being. More generally, the term denotes the manner in which we imagine or con-ceive of nationhood, culture and social or political move-ments, in the form of a shared 'spirit' which constitutes our identity as English, German, American, Liberal, Democrat, Socialist and so on. Hence, geist refers to our shared assump-tions - often unarticulated except as the idea of national identity, for example - or cultural ideology, by which same-ness is asserted at the expense of that which is different or other within the constitution of identity. However, because the term is doubled and divided 'internally' by its different meanings and is therefore haunted by the condition of undecidability, there is, as Jacques Derrida argues, always something 'invisible' within the idea of geist which disturbs the very premise of the shared assumption which is grounded on the notion of undifferentiated identity and what that seeks to exclude but which returns nonetheless. Gender—Term denoting the cultural constitution of notions concerning femininity or masculinity and the ways in which these serve ideologically to maintain gendered identities. In much sociological and feminist thought, gender is defined

2016 ◽  
pp. 52-56
Keyword(s):  
National Identity ◽  
Jacques Derrida ◽  
The Other ◽  
Human Beings ◽  
Human History ◽  
Gendered Identities ◽  
Feminist Thought ◽  
Social Unity ◽  
History Of ◽  
Cultural Ideology

Transfer of military power in Mauritania: from Ecouvillon to Lamantin (1958–1978)1

2013 ◽  
pp. 90-104
Author(s):  
Camille Evrard
Keyword(s):  
National Identity ◽  
The Other ◽  
Military Power ◽  
Military Officers ◽  
Other Hand ◽  
History Of ◽  
Experimental Process ◽  
The One ◽  
History Of Institutions

Camille Evrard discusses the transfer of military power in Mauritania during a long process of decolonization (between 1956 and 1977). Her approach links the history of institutions and politics, defined through state and system, with the perspectives held by individuals, notably by former military officers who served in the Sahara. The Mauritanian example, where French troops were over two decades actively engaged in counter-insurgency at the service of and in partnership with the Mauritanian government, is particularly instructive for an interpretation of the direct consequences of military decolonization. Evrard’s interpretation offers a scenario that had implications for actors on both sides, Mauritanian and French. On the one hand, French officials had to interact with local issues, and entered into what may be described as an experimental process of reorganizing their presence on the ground. On the other hand, they contributed to the Mauritanian vision of their own independence, to the ‘national identity’ of Mauritania, and to Mauritanian relations with neighbouring Morocco.

scholarly journals The influence of the history of folk music development on Russian and Chinese folk dances

2021 ◽  
pp. 34-53
Author(s):  
Risu Na ◽  
La Gan Chai
Keyword(s):  
Folk Music ◽  
Modern China ◽  
Folk Dance ◽  
Urgent Problem ◽  
Education Practice ◽  
Cultural Phenomenon ◽  
Cultural Codes ◽  
Traditional Training ◽  
History Of ◽  
Local Invariants

The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions.  The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice.  The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes).  

scholarly journals Attempts at reviving the Torlak identity in the Pirot region during the 90's of the 20th century

2020 ◽  
pp. 81-171
Author(s):  
Dejan Krstić
Keyword(s):  
National Identity ◽  
20Th Century ◽  
Broad Sense ◽  
The Other ◽  
Other Hand ◽  
Specific Complex ◽  
History Of ◽  
Phd Thesis

In 1994 two books were published - "A contribution to ethno-history of the Torlaks" by Kosta Kostić and "Torlak" by Vitomir Zivković, in which the authors, independent of each other, tried to revive the term the Torlaks in Pirot region in the broad sense. Both books caused some reaction. This paper gives evidence of these attempts at reviving the Torlak identity in the Pirot region and reactions to them. Data were collected mainly through interviews, during my fieldwork in 2007, 2008, 2009 and 2010 (I carried out the interviews for my PhD thesis ‚The construction of the Torlak identity in Serbia and Bulgaria' which I defended on the Faculty of philosophy, University of Belgrade in 2014). The content of this paper shows the motives of the two authors and promoters of the book for affirming of this term, the influence of the books on the wider population's awareness of its own identity and the response of local intellectual circles to them. In specific, complex and very frustrating local-political and identity-wise circumstances, the responses were mainly negative. Even though the authors and promoters didn't intend to use the term in order to endanger either national identity, they were misunderstood: in Dimitrovgrad, the term was considered as an ill-intended attempt at undermining national Bulgarian identity and regional Shop identity, and, on the other hand, in Pirot, it was seen as a danger to Serbian national identity. Yet, there were individuals who considered the term as acceptable.

Introduction

2020 ◽  
pp. 1-15
Author(s):  
K. Mitchell Snow
Keyword(s):  
National Identity ◽  
School System ◽  
Modern Dance ◽  
Folk Dance ◽  
Social Changes ◽  
Jose Vasconcelos ◽  
Classical Dance ◽  
Dance Culture ◽  
The 1960S ◽  
Folk Dancing

Modernism came to Mexico before its revolution as evinced by its embrace of early modern dancer Loïe Fuller. The revolution spawned social changes that allowed the emerging “new woman” to link revolutionary values and theatrical dance. Defining what post-revolutionary Mexican theatrical dance was to be proved problematic as ballet, folk dance, and modern dance vied for prominence. One of the constants was a desire to be both “national” and “universal.” Educator José Vasconcelos’ decision to incorporate folk dancing into the curriculum of Mexico’s public school system in the hopes of establishing a classical dance culture helped cement a national identity that would prove both locally popular and exportable. Painter Miguel Covarrubias led what would be known as the Golden Age of nationalist modern dance in the 1950s, it would be supplanted by balleticized folk dancing in the 1960s.

Russian Libraries in Australia in the 20th Century

2009 ◽  
pp. 80-85
Author(s):  
Galina I. Kanevskaya
Keyword(s):  
National Identity ◽  
20Th Century ◽  
Russian Language ◽  
Cultural Space ◽  
History Of

The article deals with review of the history of Russian librarianship in Australia. The role of libraries in preservation of Russian language in the Russian diaspora and national identity in the being in the strange cultural space is defined.

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