Modern Dance as an American Alternative to Classical Ballet

The choreographic art of the United States developed in a new direction and was looking for new forms corresponding to the trends of the modern era in many ways. By the beginning of the 20th century, the classical ballet of the USA rooted in Russian choreographic culture had experienced the lack of the means of expression that could reflect a new range of themes, images, philosophical and artistic concepts that had developed by that time and required a new dance style, genres, aesthetics. Modern dance emerged along with the development of the national political and artistic and creative self-consciousness of Americans in general, during the development of national musical, choreographic, and poetic traditions by cultural figures, who searched for their path in art. The study analyses the features of American modern dance. The artistic and aesthetic principles of modern dance are identified and the historical and cultural prerequisites for the development of the national choreographic school of the United States are revealed. The study uses theoretical methods such as visual and textual analysis of choreographic performances and music for performances, comparison of means of plastic expression, movements and figures of classical ballet and modern dance, principles of stage development of artistic images of performances. The empirical study is based on the generalisation of the practical experience of staging performances by leading American dancers of the 20th century. As a result, it is noted that the features of modern dance are completely different to those of the United States classical ballet, testifying to the desire of Americans to reflect the problems of modernity and convey the unique national character of the United States culture by using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet but reflect the spirit of modernity. The materials of the study are of theoretical and practical value for specialists who work with the problems of culture and art of the 20th century, including modern choreography.

Artistic and aesthetic principles of German expressive dance in the context of the development of modern dance in the XXI century

The purpose of the article is to identify the artistic and aesthetic features and leading trends in the development of German expressive dance of the first half of the twentieth century. and determine their impact on the development of modern dance in the first decades of the XXI century. Methodology. The system method is applied, thanks to which the peculiarities of German expressive dance are considered; the method of comparative analysis, which helped to identify common and distinctive features in the central concepts of dance K. Joss, M. Wingman, and P. Bausch; method of art history and artistic and stylistic analysis, through which identified and substantiated trends in the development of German modern dance and modern dance). Scientific novelty. The artistic and aesthetic principles of German expressive dance are studied on the basis of the analysis of choreography, aesthetics, and discourse of movement K. Joss, M. Wingman, and P. Bausch; the basic theatrical concepts of the range of emotions of the leading representatives of the German expressive dance motivating physical movement are revealed; determined that P. Bausch, M. Wingman and K. Yosse work with emotional space, which is directly related to physical movement and configures their own unique aesthetics of movement experience - dancers aestheticize the human body, covered and subject to strong emotions. Conclusions. The characteristic interest of German expressionist dance to inconspicuous, accidental, or natural manifestations of corporeality, the focus on violating previously established boundaries of art, the search for innovative ways to approach the chaos of reality, causing the formation of certain models of corporeality, and others. can be clearly seen in the modern dance of the early XXI century – phenomena, representing a unique way of artistic and bodily modeling of the world, become one of the important dancers and generators of current cultural and artistic values ​​and meanings. Key words: German expressive dance, modern dance, artistic and aesthetic principles, K. Joss, M. Wigman, P. Bausch.

Modern dance: theoretical fundamentals of the latest educational approaches

The purpose of the article is to substantiate the theoretical principles of using specific approaches in the process of training performers of modern dance. The research methodology is based on an interdisciplinary synthesis of scientific methods and approaches integrated with pedagogy, art history, and psychology. General scientific methods were also used: analysis, synthesis, generalization. The scientific novelty of the article lies in the conceptualization of the theoretical substantiation of specific approaches in the preparation of performers for modern dance, in particular, taking into account the latest technologies and psycho-emotional and mental characteristics of the performer. Conclusions. Along with traditional methods of teaching modern dances, it is necessary to develop and implement innovative methods and approaches that would meet the requirements of the latest technological development. In particular, they are related to the peculiarities of distance education, the ability to use computer programs to simulate biomechanical models of movement, to hone their kinematic technique, which largely determines the aesthetic and visual superiority and complexity of modern dance compositions. It is important to take into account the psycho-emotional characteristics of the modern dancer based on the development of his creative and innovative thinking, improvisation, as well as the socio-communicative component, which involves the ability to convey a wide range of potential emotional expressions and social signals from performer to spectator. Keywords: modern dance, innovative thinking, creative thinking, new approaches, teaching choreography, hand biomechanics, psychoemotional state.

Variability of artistic and aesthetic features of social dance Brazilian Zuk and its bedding

The purpose of the article is to identify the genre, stylistic and rhythmic specifics of the social dance Brazilian Sound, as well as to theorize the artistic and aesthetic features of the new dance backgrounds developed on its basis. Methodology. A typological method was applied, thanks to which the main characteristics of the social dance Brazilian Zuk were determined; figurative-stylistic and formal-stylistic method, which helped to identify a system of typical forms and lexical features inherent in the dance and developed on its basis substrates; the method of comparative analysis, which revealed the common and distinctive features of the traditional social dance Brazilian Sound and innovative backgrounds created on its basis; method of theoretical generalization, which helped to summarize the results of the study. Scientific novelty. The process of origin and development of one of the most popular social dances of the XXI century is studied. Brazilian Zuk; the compositional features of the Brazilian Sound were identified and analyzed; For the first time in domestic art history the genre-stylistic and rhythmic features of the main sub-styles (Rio-zouk style, Porto-Seguro style, M-zouk, Neo-zouk) and sub-styles (Modern zouk, Soulzouk R&B zouk) of the Brazilian Zuk are considered and the specificity of their art is revealed. aesthetic variability. Conclusions. The study found that the Brazilian Sound is an independent style of modern dance art, which is characterized by a number of features: the atmosphere of performance (platforms for social dances, dance conferences, seminars, etc.); creating a composition of the Brazilian Sound is usually a collective process - the authorship of style and background belongs to talented dancers, who are endowed with the gift of improvisation and specific temperament; special individual type of dance movement: the basic sequence of steps is connected with metrorhythmic features of musical accompaniment; a specific combination of plasticity, flexibility, and rotations creates individual dance backgrounds: acrobatic Acro Zouk, smooth Flow Zuk, contrast Zuk Revolution, improvisational M-zuk, inflammatory Lambazuk, philosophical-hypnotic Neo-zuk, and others. Prospects for innovative research in the field of genre-style interaction of the Brazilian Sound and modern dance trends are the unique basis of dance, which is positioned as the initial impetus for further lexical and rhythmic-intonational choreographic experiments and depends on the peculiarities of musical material. Keywords: Brazilian Zuk, social dance, artistic and aesthetic features, M-zuk, Neo-zuk, Lambazuk.

Formation in dance sports: technical and compositional features

The purpose of the article is to identify the features of historical development and the evolution of technical and compositional features of the choreographic form of the competitive type of sports ballroom dance formation. Methodology. The historical method was applied, which contributed to the consideration of the genesis and development of formation; the comparative method, which revealed the common and distinctive features of dance formation in the twentieth century. and at the present stage, which have helped to determine the characteristic stylistic and technical-compositional features of the formation, and others. Scientific novelty. Peculiarities of the historical development of the choreographic form of the competitive type of sports ballroom dance formation have been studied; the term "formation" is specified; the evolution of technical and compositional features of formation in dancesport at the beginning of the XI century is considered; the generally accepted traditional method of training, which is based on repeated repetition of the competitive composition, is analyzed; outlines the prospects of formation in modern dance sports. Conclusions. Active development of ballroom dancing at the beginning of the XXI century. contributed to its formation in the format of a complex and coordinated sport, which accordingly led to the development of sports and technical skills of dancers, as one of the components of the overall training system. At present, the perfect ballroom dance technique is understood as the most rational and effective way of performing, which allows achieving the best result. Over the past few years, dance formation has changed greatly – increased speed and dynamics of performance, there were numerous gradual changes in position without a complete stop, as well as the trend towards direct construction, which increased dance technique requirements and positively affected national and international competitiveness. Keywords: formation, ballroom dancing, dancesport, technical and compositional features.

Modern dance: theoretical foundations of the latest approaches to teaching

The purpose of the article is to substantiate the theoretical principles of using specific approaches in the process of training performers of modern dance. The research methodology is based on an interdisciplinary synthesis of scientific methods and approaches integrated into pedagogy, art history, and psychology. General scientific methods were also used: analysis, synthesis, generalization. The scientific novelty of the article lies in the conceptualization of the theoretical substantiation of specific approaches in the preparation of performers for modern dance, in particular, taking into account the latest technologies and psycho-emotional and mental characteristics of the performer. Conclusions. Along with traditional methods of teaching modern dances, it is necessary to develop and implement innovative methods and approaches that would meet the requirements of the latest technological development. In particular, they are related to the peculiarities of distance education, the ability to use computer programs to simulate biomechanical models of movement, to hone their kinematic technique, which largely determines the aesthetic and visual superiority and complexity of modern dance compositions. It is important to take into account the psycho-emotional characteristics of the modern dancer based on the development of his creative and innovative thinking, improvisation, as well as the socio-communicative component, which involves the ability to convey a wide range of potential emotional expressions and social signals from performer to spectator. Keywords: modern dance, innovative thinking, creative thinking, new approaches, teaching choreography, hand biomechanics, psychoemotional state.

Spread of contemporary dance in Ukraine

The purpose of the article is to discover the peculiarities of the spread of contemporary dance in Ukraine. Methodology. The research was carried out using historical-chronological and biographical methods, as well as the method of stylistic analysis. Scientific novelty. For the first time, information about contemporary dance in Ukraine has been systematized and the features of its distribution have been identified. Conclusions. Contemporary dance is today recognized all over the world as a research tool for understanding a person and expanding his consciousness, which performs not only recreational, relaxation, communicative, and other functions, but is also used to solve human problems at the physical and mental levels, as well as to form cultural values. Having originated in Europe and America, the contemporary dance spread in Ukraine, gaining significant popularity in recent years. Among the specialist choreographers who contributed to its popularization in Ukraine from the end of the twentieth century. until now – M. Lymar, O. Budnytska, L. Venedyktova, L. Mova, R. Baranov, Kh. Shyshkarova, A. Ovchinnikov, A. Safonov, O. Ruban. In Ukraine, dance companies Buchok ART Family, Total Dance Group, N'Era Dance Company and others have been created, engaged in research contemporary dance, which demonstrate performances on small stages in different cities of Ukraine and at international contemporary dance festivals. Contemporary dance festivals "Zelyonka Fest", "Dance Space" and others, held in Ukraine, also contribute to the popularization of contemporary dance. The dissemination of information about contemporary dance occurs through platforms, laboratories, residences under the guidance of Western specialists, as well as thanks to domestic choreographers who attend master classes, seminars, lectures, intensives, etc. such specialists in Ukraine and abroad, and in turn pass on experience to students. Key words: contemporary dance, Ukrainian culture, modern culture, choreograph, modern dance.

Broadway Dance

The move away from modern dance and ballet to jazz dance as the prominent movement lexicon employed on Broadway is explored. I examine Katherine Dunham and Jack Cole’s influence on a generation of choreographers and Bob Fosse’s fusion of the dominant paradigms established by de Mille and Robbins. I give special attention to Fosse’s choreographic influences, including his early exposure to nightclubs and strip joints, comic/eccentric dancer Joe Frisco, Fred Astaire, and Jack Cole. Beginning with his work in The Pajama Game (1954) under the mentorship of Robbins and examining selected works from Damn Yankees (1955) and Sweet Charity (1966), I study Fosse’s choreographic development. My close reading of the musical number “Big Spender” reveals Fosse’s dramaturgical process. I examine the number in relation to the 1960s sexual revolution; representations of the female dancing body in both commercial theater and concert venues; and in relation to de Mille’s “Postcard Girls” from her Oklahoma! dream ballet, “Laurey Makes Up Her Mind.” I also consider Fosse’s post-Sweet Charity objectification of the female body; his late career disregard for the precepts of time and place in relation to character, and his formulation of a distinctly identifiable movement lexicon—the “Fosse Style.” The chapter closes with three more influential director-choreographers: Gower Champion, with his innovative cinematic approach to stage musicals and his standard use of showbiz dance lexicons undisturbed by modernist methods; Michael Bennett, a strict proponent of Robbins methods and the inheritor of the Robbins’ mantle; and Donald McKayle, one of the only African American director-choreographers working in the late twentieth-century Broadway arena.

Oklahoma!

Agnes de Mille’s dance innovations in Rodgers and Hammerstein’s groundbreaking musical Oklahoma! (1943) altered the function of dance on Broadway. This chapter will consider de Mille’s project in relation to Broadway dance in the 1930s and her role as a proponent of Americana dance. A reassessment of her contributions as a modernist, women’s advocate, and a dramaturgically astute dance maker who manipulated librettos to convey her point of view will be offered. De Mille’s early Broadway failures, her tenacity, and how she made Broadway a place to present expressive, narrative dance are considered. Her employment of modern dance methodologies primarily taken from techniques developed by Martha Graham and Louis Horst, with whom she was closely associated, made the commercial theater a venue for dance innovation.

Dancing With Parkinson's Disease: The SI-ROBOTICS Study Protocol

Introduction: Parkinson's disease (PD) is one of the most frequent causes of disability among older people, characterized by motor disorders, rigidity, and balance problems. Recently, dance has started to be considered an effective exercise for people with PD. In particular, Irish dancing, along with tango and different forms of modern dance, may be a valid strategy to motivate people with PD to perform physical activity. The present protocol aims to implement and evaluate a rehabilitation program based on a new system called “SI-ROBOTICS,” composed of multiple technological components, such as a social robotic platform embedded with an artificial vision setting, a dance-based game, environmental and wearable sensors, and an advanced AI reasoner module.Methods and Analysis: For this study, 20 patients with PD will be recruited. Sixteen therapy sessions of 50 min will be conducted (two training sessions per week, for 8 weeks), involving two patients at a time. Evaluation will be primarily focused on the acceptability of the SI-ROBOTICS system. Moreover, the analysis of the impact on the patients' functional status, gait, balance, fear of falling, cardio-respiratory performance, motor symptoms related to PD, and quality of life, will be considered as secondary outcomes. The trial will start in November 2021 and is expected to end by April 2022.Discussions: The study aims to propose and evaluate a new approach in PD rehabilitation, focused on the use of Irish dancing, together with a new technological system focused on helping the patient perform the dance steps and on collecting kinematic and performance parameters used both by the physiotherapist (for the evaluation and planning of the subsequent sessions) and by the system (to outline the levels of difficulty of the exercise).Ethics and Dissemination: The study was approved by the Ethics Committee of the IRCCS INRCA. It was recorded in ClinicalTrials.gov on the number NCT05005208. The study findings will be used for publication in peer-reviewed scientific journals and presentations in scientific meetings.