Pearls of Uzbek National Dance (original) (raw)
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Choreographic art is an integral part of the spiritual life of modern society. It is the sphere of social activity where the creative experience of the younger generation finds its organic combination with the rich and varied artistic and aesthetic experience in the field of folk art and professional art, accumulated by previous generations throughout the centuries-old history.
From the History of Uzbek National Musical Art
CENTRAL ASIAN JOURNAL OF SOCIAL SCIENCES AND HISTORY, 2022
The musical form serves as a material embodiment of the content of the work and a means of creation. The forms of musical works are characterized by regularly repeating content and elements, which are somewhat contrary to such characteristics as artistic variability and mobility. Such dialectic conflicts within the framework of communication and unity always find their solution in different ways during the process of creating and performing a musical work. The relationship between stable and unstable elements of music in the traditions of music culture of different peoples is also different.
Tatar Folk Music and Its Influence on the First National Ballet
2019
Charles Abramovic. His invaluable advice and guidance helped me to crystallize the thoughts that shaped this monograph. I am also grateful to my committee members; my dear former teacher and mentor, Dr. Eduard Schmieder, and my excellent Temple professors, Dr. Alexandr deVaron and Dr. Lindsay Weightman, for carefully reviewing my work. Their feedback helped me finalize my dissertation. I would like to mention how thankful I am to my editor, Heidi George, whose assistance helped tremendously. My father, Ramil Shagidullin, who obtained materials from Tatarstan, Russia, made a huge contribution to this work, for which I will always be grateful. Finally, from the bottom of my heart, I thank my dear family in Russia-my parents, Zhanna and Ramil, my sister Alina, and my grandmothers Rosa and Liza, who always believed in me and cheered me on throughout my educational journey. I would also like to thank my family of friends in the United States for their constant encouragement, and I thank my fiancé, Tyler Lindsay, for his continuous patience, care, and support. v ABSTRACT .
Islamic Reflection in Tatar Folk Dance
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This dissertation examines to what extent Islamic influence is preserved in Tatar folk dance. Majority of Tatars are divided into Tatars- Muslims (Sunni) and Tatars- Christians (tat: Kryashen). I have chosen dance practices of Tatar Muslims because of personal attachment to it. Tatars accepted Islam as their religion in 922. Even though entertainment activities were under the control of the religious leaders, people found time for singing and dancing. However, the representation of the dance elements and the latitude of the movements have been shaped according to the norms of Islam and further on by the respective ideologies. The aim of the dissertation is to analyze people’s awareness about Islamic reflection and norms in dance and to see what shapes ‘folk dance’ nowadays. My field work was conducted in July-August 2016 in Tatarstan, Astrakhan, Kirov Oblast and Chuvashia. Data collection contains video recordings, photographs, participant and nonparticipant observations and interviews. During the research, following questions were raised up: Do people see any connection with Islam in Tatar folk dance? What are the main features of Tatar folk dance? Further, I formulated my questions according to the respondent’s position and relation to dance in general. Finally, the study discusses the dance elements that characterize the religious influence based on the ethnochoreological analysis.
Choreography in the art education system: modern Ukrainian and world practice
SPORT TK-Revista EuroAmericana de Ciencias del Deporte
The purpose of this study was to investigate the system of art education and its role in the conservation and dissemination of culture in a globalized world, and to find out the current scenario of dance forms and the way they are affected by global developments and their future. This study was also aimed to focus on the teaching of these art forms, as well as modern and foreign dance forms in Ukraine and around the world, and to examine the element of choreography in modern arts education. Both qualitative as well as quantitative methods of data collection were used. Data collection took the form of primary research (a survey consisting of 2 questions related to dance education and choreography) and secondary research (a set of 11 major articles). The survey was conducted on 51 dancers (teachers and students of fine arts) and the questionnaire data were analyzed using descriptive analysis. Artists of pure traditional descent still believe in reviving traditional forms of dance in t...
On the Marginal Requisites: Overview of Popular Urban Dances in Türkiye
Musicologist, 2023
In the sources of dance history in Turkey, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the "other" determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as "the other" of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as "dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.
Traditions and Innovations in the Choreographic Art of Ukraine of the XX Century
International Journal of Human Movement and Sports Sciences, 2022
An important component of the world choreography are folk dance ensembles, the scientific understanding of development trends of which contributes to the formation of an idea of the current state of the choreographic sphere and comprehension of the future prospects of this art form. The study of the specifics of artistic processes in choreography becomes especially relevant today, which will exclude the possibility of levelling its special features, the uniqueness of the creation and development of the art of dancing in its individual areas. Ukrainian folk stage art of dancing, which is an integral part of the country’s artistic culture, reached its peak in the second half of the XX century. In times of historical crisis, when national identity (traditions, culture, beliefs, language, and shared historical memory) was under threat of destruction. Traditional uniqueness manifested itself in various forms of the society, including an increase in interest in one’s own spiritual treasures, such as folk choreographic art associated with folk traditions and customs. In modern conditions of social development, there is an urgent need to preserve the cultural heritage of the Ukrainian people, while the main goal of the scientific community in this direction is to recognize the uniqueness and originality of the spiritual heritage of each region and ethnic group of Ukraine. The purpose of the academic paper lies in analysing the features of the interaction of traditions and innovations in choreographic art by comparing the trends of its development in the XX century, in particular, identifying the key methods for preserving folk traditions and the main means of applying innovations for the most effective development of this art form. In the course of writing the academic paper, a set of research methods has been used, in particular as follows: general scientific (analysis, synthesis, deduction, induction, generalization), specific scientific (historical-structural), as well as a questionnaire, which has been implemented using the Survio resource. Based on the results of the research, the theoretical fundamentals have been studied and the practical aspects of the features of the traditional and innovative components of the choreography of the XX century in Ukraine have been clarified.
In dance historical records, (re)naming of a dance from Artvin, Turkey as Atabarı is associated with a local dance event which occurred in 1936. This popular narrative has been reconstructed many times by different writers. In 2010, a new reconstruction of this narrative triggered a discussion among the dancers and musicians from Artvin. I make an intertextual and comparative analysis on different (re)constructions of this narrative. Exploring the similarities and contradictions, problematizing the gaps and silences in different accounts of dance historiography, I analyze the historical contexts in which those narratives have been constructed or reconstructed. Keywords: Turkey; narrative; historiography; Armenian; lyrics