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.

“Ballet” is a Dirty Word

2021 ◽  
pp. 373-388
Author(s):  
Henrique Rochelle
Keyword(s):  
Public Interest ◽  
Strong Influence ◽  
Modern Dance ◽  
Sao Paulo ◽  
São Paulo ◽  
The Past ◽  
Dance Training ◽  
Professional Dance ◽  
Dance Companies ◽  
The City

Professional dancing in São Paulo, Brazil, developed from the 1950s on, with a constant and strong influence from modern dance. As modernism looked disapprovingly at ballet, seeing it as something from the past, prejudice grew in the city toward the form. Directors and choreographers of dance companies currently speak about ballet and contemporary ballet as something that is done, but always by others, never themselves. Even the word “ballet” is avoided, since it seems to diminish the works being discussed, as it became something strictly associated with dance training, and not professional dance. This chapter investigates the roots of ballet in São Paulo, discussing both its origins and the origins of its rejection, while pointing to the recent indications of its newfound public interest.

Chinese Revolutionary Ballet

2018 ◽  
Author(s):  
Xiaomei Chen
Keyword(s):  
Twentieth Century ◽  
Future Development ◽  
Political History ◽  
Modern Dance ◽  
Modern State ◽  
Folk Dance ◽  
Chinese Tradition ◽  
Socialist Realist ◽  
Significant Performance ◽  
The Impact

Introduced to China in the 1920s, Western ballet evolved into a significant performance genre in modern and contemporary China. Its popularity grew in the twentieth century when political history, revolutionary wars, the impact of Western cultures, and the artistic visions of a new and modern state all played a significant role in the formation of Chinese revolutionary ballet. The revolutionary ballets took over this Western classical form and transformed its aesthetics, turning an elite spectacle into a socialist realist portrayal of everyday life and its challenges. The introduction of Western ballet into China can be traced to 1894, when the first Sino-Japanese War broke out. At that time, Yu Rongling (裕容龄) traveled to Japan with her father, a Manchu aristocratic diplomat of the Qing Court. She learned modern Japanese dance before pursuing a formal training in Western ballet in Paris, and her teachers included Isadora Duncan. Yu’s quick rise to stardom on the Western stage brought her into the Qing Court, from 1904 to 1907, as a lady-in-waiting to entertain Empress Dowager Cixi (慈禧太后), who developed an interest in Western modern dance. Yu also initiated a combination of Western modern dance with traditional Chinese folk dance, therefore paving the way for the future development of a unique choreography which blended Western and Chinese tradition.

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.

Nettleford, Rex (1933–2010)

2018 ◽  
Author(s):  
Sabine Sörgel
Keyword(s):  
Modern Dance ◽  
Folk Dance ◽  
African Culture ◽  
The West ◽  
Political Independence ◽  
Vice Chancellor ◽  
Theatre Company ◽  
Long Time ◽  
The University ◽  
Over 40 Years

In a dance career spanning over 40 years, Rex Nettleford was perhaps the most influential choreographer to shape Jamaican dance theatre as it is known today. Starting out as a member of Ivy Baxter Dance Group in the late 1950s, he and Eddy Thomas founded the National Dance Theatre Company (NDTC) of Jamaica, and the company’s inaugural performance, Roots and Rhythms, took place on Jamaican Independence Day in 1962. An eminent political sociologist and long-time vice-chancellor of the University of the West Indies, Rex Nettleford always connected his dance career to his scholarly pursuits in Caribbean cultural studies and historiography. Among his voluminous writings, two books – Dance Jamaica: Cultural Definition and Artistic Discovery (1985) and Dance Jamaica: Renewal and Continuity (2009) – document the ongoing history and development of the National Dance Theatre Company of Jamaica from its original inception as a celebration of political independence through its struggles for self-definition to its worldwide reputation today. All along, Nettleford’s choreography aimed to strengthen the Africanist legacy of Caribbean dance by promoting African culture as the grassroots expression of Afro-Caribbean identity and by incorporating Jamaican folk dance as integral to Caribbean modern dance.

New Dance Group, New York City, 1932–2009

2018 ◽  
Author(s):  
Victoria Phillips Geduld
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Modern Dance ◽  
Class Struggle ◽  
Folk Dance ◽  
Left Wing ◽  
Jewish Women ◽  
Concert Dance ◽  
American Modern Dance

Established in 1932 by six young Jewish women in New York City, New Dance Group (NDG) trained leaders of the American modern dance. Founded with the desire to combine radical left-wing politics with dance, NDG proclaimed in its first anniversary bulletin in March 1933: "Dance is a Weapon of the Class Struggle." The early NDG included concert dance soloists, a men’s group, ensembles that performed in union halls, and a folk dance unit.

Tuning your body instrument: The alignment of tone and movement

2020 ◽  
Vol 7 (1-2) ◽  
pp. 17-26
Author(s):  
Hillary Keeney ◽  
Bradford Keeney
Keyword(s):  
Body Movement ◽  
Mechanical Vibration ◽  
Acoustic Vibration ◽  
Musical Instrument ◽  
The Body ◽  
Recorded Music ◽  
The Everyday ◽  
Different Parts

In this article, we outline a movement practice we devised called ‘tonal alignment’. It invites you to regard your body as a musical instrument that produces both a mechanical vibration (movement) and an acoustic vibration (sound). The basic practice involves moving different parts of your body to various musical tones. These tones can be made with your own voice, an instrument, or you can play recorded music. Synchronizing body movement with acoustic sound is what tunes the body instrument. Body tuning, now regarded as comparable with tuning a musical instrument, can be done before any activity or ‘performance’ including the everyday tasks of work and play. Intentionally moving different parts of the body in response to particular musical tones develops a greater capacity to be spontaneously moved by music. Tonal alignment is fun, experimental, can be done alone or with others and brings a welcome inspirational reset.

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 FORMATION OF CONCEPTS OF PROFESSIONAL BALETMAYSTER IN THE CONTEXT OF DEVELOPMENT OF UKRAINIAN HOREOGRAPHIC EDUCATION

2018 ◽  
pp. 140-151
Author(s):  
Tetyana Blahova
Keyword(s):  
Driving Force ◽  
Professional Activity ◽  
Folk Dance ◽  
Creative Activity ◽  
Specific Kind ◽  
Artistic Activity ◽  
Theoretical Generalization ◽  
Professional Dance ◽  
Basic Concepts ◽  
Scientific Ideas

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 field of professional choreography, which is embodied in the process of creative work with choreographic material. The diverse work of the well-known Ukrainian choreographers nourished the field of professional dance with scientific ideas and practical achievements, determined the strategies of its development, content, technologies, methods of work, becoming the driving force in the formation of theoretical and practical regulation of choreographic pedagogy. The retrospective of the ballet master's experience of Ukrainian choreographers allows us to generalize its specifics and determine the essential features and directions through the prism of creative activity of well-known representatives of this specialty. The content of the professional meanings of the Ukrainian choreographer combines a combination of the essential characteristics: of the philosophical and artistic position, individual choreographic handwriting, creative style, performing style, a set of expressive  means. They  are realized in different directions of activity. The well-known Ukrainian choreographers have substantially expanded the system of basic concepts of the choreography profession by synthesizing the achievements of several generations in the field of folk dance production, substantiating their authoritative technologies of his practical and theoretical generalization.

A Revolution in Movement

2020 ◽  
Author(s):  
K. Mitchell Snow
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Golden Age ◽  
Modern Dance ◽  
Folk Dance ◽  
Visual Artists ◽  
Ballets Russes ◽  
National School ◽  
The Creation ◽  
The 1960S

A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance—the emulation of Diaghilev’s Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico’s theatrical dance world, including Diego Rivera’s collaborations with ballet composer Carlos Chávez; Carlos Mérida’s leadership of the National School of Dance; José Clemente Orozco’s involvement in the creation of the Ballet de la Ciudad de México; and Miguel Covarrubias, who led the “golden age” of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.

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