The development of Russian folk dance is closely connected with the entire history of the Russian people. Each new era, new political, economic, administrative and religious conditions were reflected in the forms of social consciousness, including in folk art. All this brought with it certain changes in the life of the Russian people, which, in turn, left an imprint on the dance, which underwent various changes along the centuries-old path of its development.
The antiquity of dances in Rus' is evidenced by the legends that have survived to this day about pile buildings on Lake Ladoga in the pre-Christian period. The girls gathered on them and the good fellows “danced and played in circles” (30).
In the 5th-7th centuries, folk dance was performed in the bosom of "games". Their character was imprinted with ancient pagan ideas. In the VIII-IX centuries, the first ancient Russian state, Kievan Rus, was formed. The adoption of Christianity contributed to the development of culture: temples were erected, writing developed. Folk art is expressed in buffoonery. Buffoons played a huge role in the development and popularization of Russian folk dance: stage forms of folk arts were born (5).
The first official mention of Russian folk dance dates back to 907, when Prince Oleg the Prophet celebrated his victory over the Greeks in Kyiv. At the gala reception, 16 dancers dressed as bears and four bears dressed as dancers performed for the guests.
In 1113, Vladimir Monomakh, invited by the people of Kiev to the kingdom, in order to calm the lawlessness, drove through the city in the evening with his retinue. He immediately noticed a strange dance and pointed out to Metropolitan Nicephorus the dancing fellow. It turned out to be the bricklayer Petro Prisyadka. Within a few days, Petro was dancing for the Grand Duke of All Rus' every breakfast, lunch and dinner. Bricklayer Petro Prisyadka worked hard, squatting with heavy stones and tools in his callused hands. Every evening, after his labor feat, he went out to Khreshchatyk and, having taken a ladle of wine and a loaf, began to jump, stretching his legs that had become stiff during the day. Dancing like Squat or Squat soon became fashionable in wealthy Kyiv. The fat buffoons were losing weight and learning to dance the "Squat", breaking their crooked legs on the nasty medieval sidewalks.
Buffoons owned a high dance technique, but their art, deeply folk, was rooted in pagan games and rituals. In the XII century, juggling becomes very popular, which reaches its full flowering in the XIII century. The juggling dance was virtuoso, with a strong admixture of acrobatic movements using elevation tempos. The legs are everted, the toe is often extended. The juggler himself composes and performs poetry and music and at the same time dances, showing acrobatic tricks and tricks, leads monkeys. Sometimes he occupies a high position, sometimes he “begs”. In the 14th and 15th centuries, "dances of the mummers" became very popular, which to this day exist in our holidays. (20)
At the end of the 15th century, the Russian people were finally liberated from the Tatar-Mongol yoke, which contributed to a powerful rise in national culture. In 1571, the "Amusement Chamber" of Tsar Mikhail Romanov was created, which included the most talented buffoons, and in 1629 the first well-known dance teacher in Russia, Ivan Lodygin, appeared among them.
Along with buffoonery, there was a folk professional and self-made theater. This theater survived the buffoonery and, like their art, it gravitated towards simple, clear methods: a sharp, sweeping gesture, loud singing, and daring dancing were in use. Many of these types survived until the 20th century and, without linking with the ballet theater, directly influenced it indirectly - through music, painting, through the experience of choreographers and the art of Russian dancers. (thirty)
The 17th century is associated with the name of the "almost legendary" choreographer Beauchamp. Depreo says: "Beauchamp was the first to dismember the pace." This division of dance steps into tempos is the basis of the system of recording dances that arose at the end of the 17th century. Beauchamp was the first to form five reversal positions. But they are just the beginning for him. The movement and positions of the hands are also designed by Beauchamp. It was Beauchamp who systematized all scientific choreography, combining the French and Italian schools. Thus, by the beginning of the 18th century, Russian folk choreography was also taking shape.
By the 17th century, a system of stage dance began to take shape, divided into classical and characteristic. (9)
Characteristic dance is one of the expressive means of ballet theater, a kind of stage dance. In the XVII-XIX centuries, the term "characteristic dance" served as a definition of dance in character, image. This type of dance was common in interludes, the characters of which were artisans, peasants, sailors, beggars, robbers, etc. A characteristic dance is enriched with movements and gestures specific to a particular social group, and the laws of composition were not observed as strictly as in classical dance. (23)
Also in the 17th century, the process of economic, political and cultural rise of Russia as a mighty national power intensified. The international relations of the Motherland expanded, its cultural ties with foreign states grew.
Russian diplomats and merchants, just free travelers got acquainted with the theater of the West. Ballet was of particular interest because the language of music, dance and pantomime is accessible to everyone. The splendor of ballet performances attracted me: the change of scenery, the departures of all kinds of characters in decorated chariots, the luxury of costumes, etc. Such spectacles could glorify the power of the centralized Russian state. In 1673, the ballet about Orpheus and Eurydice was staged in the village of Preobrazhensky near Moscow.
The XVIII century was marked by the emergence of a new state - the Russian Empire. This era is associated with the name of Peter I - a brilliant reformer of his time. There have been serious transformations in culture, and Russian folk dance art is gradually changing. The dance takes on a more secular character. At the court, popular European dances are becoming: French quadrille, minuet, polonaise and others. In the first half of the 18th century, the minuet was the central dance, which came to the court of Russian performers, because. he demanded to perform just those features that are inherent in a Russian woman: this is plasticity and her natural modesty, softness and expressiveness of the dance. And only among the people, Russian dance has not only been preserved, but also developed, taking on new varieties. So, as a result of the influence of Western salon dances, the square dance, polka, etc. appear in Russian life, which, getting into the village, change radically, acquire typical Russian local features, manner and character of performance (26),
At the same time, fortress ballet appeared in Russia, which originated in the estates of the landowners and reached a high artistic level by the end of the 18th century. Since there was no theater in the province yet, the serf troupes objectively served educational purposes. Rich nobles, inheriting vast lands, owning thousands of peasant souls, set up a state in miniature. The serf theater arose in imitation of the capitals. Initially, the serfs performed folk dances for their masters. One of the memoirists of the era tells how, having visited a landowner's estate in the Pskov province, he saw such "village dances". The dancers of the fortress ballet, even becoming real “dancers”, carefully passed on the tradition of national dance to each other. This largely depended on their living conditions. First, getting into the atmosphere of the landowner's "ballet school", they kept in touch with their native village, with its songs and dances. Secondly, they rarely broke away completely from their environment, working in the field and in the master's house on an equal basis with other serfs. Thirdly, serf ballet actors only in rare cases had foreign teachers and directors (34),
The Russian national theme was widely established in the fortress ballet theaters of the 18th century. The nature of the performance there was more original than on the court or private stages of Moscow and St. Petersburg. Most often, original dance works, separate numbers or interludes - were included in operas on Russian plots.
The ballet troupe of the Counts Sheremetevs was the most professional among the fortress ballets. Its actors were trained from childhood, they were selected from their parents and brought up in a strict regime, changing their names due to the whim of the owner by the name of precious stones.
Among the dancers of this group, Mavra Uruzova - Biryuzova stood out, the defendants were Avdotya Ametistova, Matryona Zhemchugova, Anna Khrustaleva and others. Among the dancers, Vasily Vorobyov played the first roles, the second - Kuzma Serdolikov, Nikolai Mramorov. In the first place in this group is the name of Tatyana Shlykova - Granatova.
The ballet art of Russia from the first steps declared itself as a professional art. It does not know the amateur period, as in
France, where ballet performances were the monopoly of noble courtiers and the king's family.
In Russia, the very first performances were performed by actors, they studied at theater schools, for which theatrical performance was a source of livelihood. They improved their skills and expressed their style, their manner of stage behavior. (8)
Future Russian dance schools originated in the depths of educational institutions of a general type, not related to the theater. The St. Petersburg gentry corps, established in 1731, prepared Russian youths for military and public service. They were taught many subjects, including dancing. They did choreography 4 times a week for 4 hours. Here in 1734, J. Lande was invited to the post of dance master. (42)
In the 18th century, Russian folk dance images, folk dances were preserved on the Russian stage.
The art of Russian folk dance, its scenic expressiveness, was carefully preserved by dramatic actors and singers of the opera house. Song-comic numbers were directly connected with the dances of the ancient folk theater. The interest of Russian society in choreographic art increased with each new ballet performance. The need for a school became obvious. In 1738, the beginning of choreographic education in Russia was laid. The school is located in the former palace of Peter I; the choreographer was J. Lande. A.A. occupied a worthy place in the school. Nesterov, he studied even before the opening of the school with Lande and was the first Russian ballet teacher (32).
In 1777, a public theater was opened in St. Petersburg. It was the first commercial public theater in Russia, called the Free Theatre. A few years later, he moved to the treasury and became known as the city. In 1806, the school at the Petrovsky Theater ceased to exist, and the Moscow Imperial Theater School was organized on its basis.
Russian choreography in the second half of the 18th century mastered the study of staging trends and pedagogical techniques of foreign ballet. Hilferding, Angiolini, Kanziani work in Russia. This time is marked by the strengthening of trends in Russian culture. They are associated with peasant uprisings, popular unrest that swept across the country.
At the beginning of the 19th century, when the fortress ballet became obsolete, many of its artists found their way onto the imperial stage in the capital.
From the beginning of the 19th century, the meaning of the term characteristic dance began to change - it was called semi-characteristic, and the definition of characteristic passed to folk dance. This meaning of the term has stuck to this day. The characteristic dance of the 19th century differed from the folk one in that it had not an independent, but a subordinate meaning. His laws were dictated by orchestral, then symphonic music and the style of the performance. Popular movements were limited to a certain number of pas of one or another nationality. (29)
The concept of "characteristic dance" in the 19th century and the beginning of the 20th century denoted a theatrical everyday dance in character, both in the salon and in the square. Subordinating the folk dance to a certain content, the characteristic dance selected its most significant features and, enlarging, modifying the main thing, omitted the unimportant. This selection was natural. It made it possible to convey in the dance the spirit of historical epochs and the specific circumstances of the day's performance, the features characteristic of all the people, and the distinctive features of the character. Therefore, on the basis of the same folk dance, you can create several characteristic dances that are not very similar to each other.
The place and role of character dance in ballet either expanded or narrowed, according to the aesthetic requirements of a particular era. It could be the effective basis of the whole performance, it could fall out of action, retaining only the rights of an interstitial number.
From the very beginning, there were two tendencies in the characteristic dance. One based on creative closeness to the folklore source, seeking to convey its meaning and artistic nature; the other - decorating, stylizing. Both trends influenced the fate of Russian character dance throughout its pre-revolutionary history, unmistakably betraying the general state of the ballet repertoire of one time or another.
In the second half of the 19th century, the characteristic dance in a ballet performance was in the background. At its core, it had a folk national dance, which was subjected to significant stylization both in the drawing of groups and in the interpretation of movements, which were stylized in the principles of the classics. Retaining their belonging to national dances, they softened, rounded, and acquired greater smoothness. The absolute eversion of the legs of classical dancers was replaced here by relative eversion. The toes of the legs were extended as in a classical dance, the arms were opened and raised in the positions of a classical dance. The dances of the most dissimilar nationalities were built on the same movements of pas de basque, battement developpe, battement jete. (6)
In some cases, character dances generally took the form of classical variations. When staging Chinese, Japanese, Indian pas
choreographers brought the stylization to the point of borrowing the jumping technique of classical dance, while maintaining the specificity in the setting of the hands and body.
At the end of the 19th century, an exercice of character dance was created. It was based on the exercice of classical dance. This made it possible to widely use the laws of choreographic thematics when staging a characteristic dance. In general, the 19th century was characterized by serious changes for the Russian state. Capitalism developed in the country, and with it the working class appeared. All this is reflected in folk art.
At the very end of the 19th century and the beginning of the 20th century, many ballet dancers began to engage in teaching activities, such as: A. Gorsky, M. Fokin, V. Tikhomirov and others. Gorsky enriches the vocabulary of classical dance at the expense of character and widely introduces folk dance into the performance. In 1914, he showed the program "Dances of the Nations", which included theatrical dances of various nations. (23)
Over the course of the 20th century, folk dance went from a folk dance to a stylized folk stage dance. At the same time, all the changes related to folk choreography in the period under review were very significant and occurred quite rapidly. One of the main principles of the development of folk dance art in the 20th century is the principle of its professionalization. Raising the performing skills of folk dances to a higher level, this process also contributed to the fact that the carrier of national dance traditions gradually changed from representatives of the common people to professional performers, choreographers and teachers, which directly affected the development of domestic household choreography.
Thus, Russian folk dance is one of the most widespread and ancient types of folk art. This is a bright, colorful creation of the people, which is an emotional artistic specific reflection of their life, character, thoughts, feelings, aesthetic views and understanding of the beauty of the surrounding world.
Russian folk dance is probably the dance with the richest and richest history. It takes its origins from the time of Ancient Rus'. His education was served by folk mass dances and festivities, cheerful large round dances, etc. All these fervent events were an integral part of the life of a Russian person. Not a single holiday, not a single fair or other entertainment program took place without them. Unlike modern man, people in the era of Ancient Rus' knew how to enjoy life.
Features of Russian folk dance
Russian folk dance can never be confused with any other. This is a special kind of colorful choreography. This dance has a lot of distinctive characteristics and features. 
Firstly, Russian folk dance is a fervent dance with jumps and active movements, which are invariably accompanied by endless humor and laughter. Secondly, national costumes are an obligatory attribute of this dance - no less bright and beautiful than the dances themselves. Russian folk dance is very rich in a wide variety of choreographic steps; it is based on several types of dance at once, namely: dance, round dance and quadrille. It can be said with full confidence that Russian folk dance is a kind of personification of the character of a Russian person and his soul. After all, there is probably no more cheerful and charming dance in the whole world. A Russian person has an incredibly broad and kind soul - the same is the dance of his people.
It is impossible to single out one period from the history of Ancient Rus', when folk dance was born, but with full confidence we can say that it absolutely accurately personifies the entire difficult and eventful history of this great state. Very often, such dances were held to the accompaniment of songs and texts about the homeland, heroes and kings. Basically, folk dance was tied to mass and large church holidays. Of the most grandiose, one can distinguish: weddings, Christmas, Maslenitsa, Ivan Kupala and many others, because the Russian people are also famous for their huge number of festivities. One of the most beautiful and special dances in Rus' can be called dancing on rafts on the night of Ivan Kupala. That evening there was a mass celebration with songs and dances, and unmarried girls let a wreath of flowers along the river surface in search of a groom.
Festivities on the night of Ivan Kupala
Russian folk dance is distinguished by its dynamics, great mobility and the presence of all kinds of jumps and tricks that required very good physical preparation, but it is worth noting that in the days of Ancient Rus' there were no problems with this. Unfortunately, Russian folk dance is no longer performed with such frequency in our time. In the modern world, it is used only as a stage highlight and national demonstration.
Unlike other human activities, dance rarely left clearly identifiable material evidence that could last for millennia, like stone tools, hunting equipment, or cave paintings. It is impossible to accurately determine the period when dance became part of the culture of human society, but it is certain that even before the appearance of the most ancient civilizations, it was an important element of ceremonies, rituals, celebrations and entertainment events.
Dance - rhythmic, expressive body movements, usually built into a specific composition and performed with musical accompaniment. Dance is perhaps the oldest of the arts: it reflects the need of man, dating back to the earliest times, to communicate his joy or sorrow to other people through his body. Almost all important events in the life of a primitive man were celebrated with dances: birth, death, war, the election of a new leader, the healing of a sick person. The dance expressed prayers for rain, for sunlight, for fertility, for protection and forgiveness.
Dance pas (fr. pas - "step") originate from the basic forms of human movement - walking, running, jumping, bouncing, jumping, sliding, turning and swinging. Combinations of such movements gradually turned into pas of traditional dances. The main characteristics of the dance are rhythm - relatively fast or relatively slow repetition and variation of basic movements; drawing - a combination of movements in the composition; dynamics - variation in the scope and intensity of movements; technique - the degree of mastery of the body and mastery in the implementation of basic steps and positions. In many dances, gestures are also of great importance, especially hand movements.
For primitive man, dance was the main form of existence. It is known that dance activity was already characteristic of the paleoanthrope. The dance of the Upper Paleolithic, when the type of modern man, the Cro-Magnon, had already formed, was most studied.
In ancient times, dance was an integral part of rituals and occupied an important place in the life of mankind. In primitive society, there were a variety of types of dances - hunting, military, totem, ritual. The reasons for dancing and the plots of these dances were dictated by life itself. Mass character, universality - a necessary condition for dancing. After all, when people dance all together, in the same rhythm, an amazing, almost mystical feeling of unity with each other appears, a colossal charge of energy arises that can make everyone several times stronger.
Ritual, for example, military, prevailed among primitive dances. They were, as it were, a game of the upcoming war, a kind of rehearsal of the expected events. From this point of view, the ritual dances of primitive tribes are likened to the amusements of small children who, through the game, try to develop stereotypes of behavior in various situations of the upcoming adult life.
Any dance among the ancients marked the connection of a person with powerful cosmic energies necessary for experiencing important milestone events in their lives: the birth of offspring, hunting, war, death. They danced not from an excess of strength, but to acquire them.
Women's rituals were among the most common in the art of the Upper Paleolithic. Images of fire and procreation, plant forces of nature, reproduction of animals and hunting luck were associated with the image of a woman in their original forms. Among some tribes of South West Africa, the great procession with fire torches, arranged after an unsuccessful hunt, was led only by the Great Woman. In addition to women's dance rites associated with the cult of fertility, dances were widespread in which women were embodied in the image of one or another plant useful to the tribe. The image was created by plasticity and dance pattern. The special meaning of women's dances - the connection of a member of the tribe with his totem took place through a woman.
Dance is the main form of performing rites and rituals. There is no strict differentiation between the spectator, the performer and the composer of the dance. The main form of performance is a circle, which, on the one hand, was the most convenient form of mass ritual dance performance, and on the other hand, had a symbolic, magical meaning associated with the cults of the Sun and the Moon. In various tribes, the performance of a circular dance related to the upcoming hunt, to the resulting fertility and general well-being. In some cases, the circle dance symbolized marriage.
For a man of a primitive society, dance is a way of thinking and living. In dances depicting animals, hunting techniques are practiced; the dance expresses prayers for fertility, rain and other urgent needs of the tribe. Love, work and ritual are embodied in dance movements. The dance in this case is so connected with life that in the language of the Mexican Tarahumara Indians, the concepts of "work" and "dance" are expressed by the same word. Deeply perceiving the rhythms of nature, people of primitive society could not but imitate them in their dances.
Primitive dances were usually performed in groups. Round dances have a specific meaning, specific goals: to expel evil spirits, heal the sick, drive away misfortune from the tribe. The most common movement here is stomping, perhaps because it makes the earth tremble and submit to man. In primitive societies, squatting dances are common; dancers love to spin, twitch and jump. Jumps and whirling bring the dancers to an ecstatic state, sometimes ending in loss of consciousness. The dancers usually do not wear clothes, but do wear masks, elaborate headdresses, and often paint their bodies. As an accompaniment, stomping, clapping, as well as playing all kinds of drums and pipes made of natural materials are used.
As can be seen from all of the above, the art of dance exists for unity, the merging of various principles. Primitive tribes do not have a regulated dance technique, but excellent physical training allows the dancers to completely surrender to the dance and dance with absolute dedication, up to frenzy. Dances of this kind can still be seen in the islands of the South Pacific, in Africa and in Central and South America.
In primitive society there are no artists in the ordinary sense of the word, although in a number of primitive tribes there are professional dancers who have no other duties and are real masters of the dance.
The creation of a specific atmosphere of combining music with movements was of great importance. Due to the movements, it was possible to use the hidden possibilities of the body, open access to the powerful energy of creativity, learn how to awaken and realize it.
Thus, the dance had a great influence on the formation of internal culture. Dance was a way of communicating; a way of self-expression that allows dancers and spectators to experience the pure joy of movement.
He embodied the whole range of human feelings; telling stories; strengthened, disciplined, renewed and nourished the integrity of the personality. In some cultures, dance healed, saved the soul, gave earthly incarnation to the gods, and also preserved and changed cultural traditions; changed a person, his sense of self; condition, alleviated depression; bring a sense of competence and power.
Dance helped to understand other cultures and, thanks to this, to better understand their own culture.
Folk art is the quintessence of the mentality of the nation, the character, aspirations and hopes of the people. Through folk song and dance, you can learn the history and dreams of the people, their hopes for the future
Folk dance is one of the most ancient arts. It arose because of the need for a person to express his emotional state with the help of the body. Dance reflects the daily life of a person, his workdays. Joyful and sad impressions were also expressed through movements to a certain rhythm, and later to music.
History of dance
The dance originated at the dawn of history in the period of the primitive communal system. All important events in the life of a primitive man - birth, death, treatment of a patient, the choice of a new leader of a tribe, a prayer for a harvest, good weather - were accompanied by dances. Dance art was present and is present in the cultural traditions of any human community, in any ethnographic group. Gradually, the dance separated from the song and became a separate art form.
Over time, the choreography has changed, each ethnic group has its own characteristics. In ancient Egypt, dance art was predominantly ritual in nature. In antiquity, paramilitary dances were added to ritual dances, designed to raise the spirit of warriors before the battle. In ancient Greece, with the development of theatrical art, stage dance also appears. Thus, in the ancient period, folk dances can be divided into stage, military, sacred (religious, ritual) and social. In the Middle Ages, there was a division into court and village dance. This division does not yet have clear boundaries, and often the same movements were present in both palace and folklore dances.
In the 17th-19th centuries, ballroom dancing and ballet developed. But the origins of court and stage choreography still lie in folk dance. Now there are many dance styles and types, but all of them are united by the unity of music, rhythm and movement.
Types of folk dance
The most ancient type of folk dance, which exists in almost all ethnographic groups, is. His movements are simple and consist of walking in a circle to musical accompaniment or singing. The circle shape may have symbolized the sun. The round dance existed and still exists among all Slavic peoples. In Lithuania it is called korogod, in Moldova - hora, in Bulgaria, Romania - horo, among Croats, Bohemians, Dalmatians - kolo.
One of the most ancient dance traditions is the tradition of the African continent. The peculiarity of Negro dance is in the predominant meaning of rhythm over music. African culture has provided material for the development of many dances in Latin America: , samba, cha-cha-cha, and many others. Even modern dance styles - RnB and others - are based on the folklore art of the black population of the globe.
Folk dance created the basis for ballroom dancing. So, the well-known and beloved by all came from the ancient folk dance of the Volta, the mazurka, which became the queen of the ball in the 18-19 centuries - from the Polish folk dances of mazur, kujawiak and oberek.
Some folk dances are the hallmark of one country, like the tarantella for Italy, "Kalinka", "Lady" for Russia, the Cossack, for Ukraine, for Poland, for Hungary. And others have spread throughout the world, including the national characteristics of different regions, like . There are countless styles and types of folk dances, but they all have one thing in common - they reflect the annals of the history of the people, their soul and character.
Features of folk dance
Folk dance is democratic. To express your emotions and feelings with the help of body movements, you do not need to be a professional: folk dance is available to everyone. Folklore dance is anonymous, it does not have a specific author. Movements and music are passed down from generation to generation, changing over time.
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The history of the formation of Russian folk dance
Among the many forms of artistic culture, choreographic art occupies a special place. It develops imaginative thinking and fantasy, as well as ensures harmonious spiritual and physical development, educates to understand the beautiful. The national self-consciousness of every nation directly depends on folklore creativity. In which a large role is assigned not only to music, folk tales, customs and rituals, but also to folk dance - dance.
Folk dance is the collective artistic creativity of the people, which has absorbed their centuries-old life experience and knowledge.
Folk dance reflects a person's life in many ways, reveals his spiritual beauty and wealth. The aesthetic ideals embedded in it have had a beneficial effect on many generations of people. The life and customs of ethnic groups of different countries are directly related to the development of cultural heritage and have a huge impact on the formation of dance culture. choreographic art is one of the most widespread and ancient types of art, which originated from the ethnic structure of each nation. Since ancient times, by means of dance, a person has conveyed his feelings, emotions and attitude to life phenomena.
Each folk dance is the history of the people. It reflects joys and sorrows, wisdom, heroism, way of life, customs and deep faith in a good beginning. Since ancient times, dancing has accompanied a person throughout his life. Only the nature of these works composed by the people changed.
The formation of the choreographic art of our country, directly, took place under the influence of the development of the Russian choreographic school. This was due to territorial, political and economic factors, which inadvertently dooms each of us to get acquainted with the choreographic culture of the Russian people. folk dance choreographic culture
The historical past of the Russian people testifies to its exceptionally developed creative environment, in which many generations of people were brought up and a national culture was formed.
Russian folk dance originated in the rituals and games of the ancient Slavic tribes. Most of the ancient Russian dances had a close connection with the cult of agriculture, the natural cycle and the imitation of the habits of animals. Analyzing the works of researchers of Russian national and dance culture, no examples of martial dances were found.
In the ritual dances of ancient Rus', the forms of thinking and attitude characteristic of a person of that time were manifested. This is animism and magic. Animism is the spiritualization of nature, the belief that an invisible spirit is hidden behind every living and non-living object of the universe, thereby reviving it. Animism is closely connected with the magical representation of the world - faith in the power of the word, rhythm, body movement, with the help of which, one way or another, a person can influence the power of nature and cause the desired results: a rich harvest, good health, good luck hunting, livestock offspring. Ritual dances have always been based on the principle of analogy - the belief in gaining power over an object by means of mastering its external appearance. The main thing in hunting dances was the imitation of a nimble beast. The center in agricultural dances was the imitation of natural phenomena, birds and animals, labor and land work. And here a person surrendering to his imagination, transferred it to reality. Burning or burying an effigy of Shrovetide, Kostroma, he imagined that he was burying and saying goodbye to winter for another year. Imitating bird flight, he called for the arrival of real birds. Reproducing the imitation of labor processes, he wanted to get a rich harvest. Thus, in rituals and ritual dances, a person consolidated his knowledge and experience. Without deeply comprehending the result of his actions, he considered it as the result of the influence of good or evil forces. He tried to repeat the same actions, reproducing them in the same environment, in the same order, which brought him good luck. That is, because in his understanding it was pleasing to the forces of good. So ritual dances were fixed among the people and passed on from generation to generation.
The history of the formation of the aesthetic side of folk rituals is a constant selection by the people of the best works of their creativity. These works, having entered the rite, did not remain unchanged, they were polished from generation to generation.
With the expiration of time, the faith of the Russian people in the magical power of the rite gradually fades away, and takes on a more playful form. Gradually, separate genres stand out from the rituals, such as: games, songs and round dances, which served as entertainment for the Russian people in their leisure time.
The most ancient and widespread form of Russian dance, which has survived to this day, are round dances, which have many divisions into genres and forms. Round dances can be playful and ornamental, performed in a circle, linearly, as well as incorporate a variety of different geometric patterns, be both mixed in composition of the dancers, and exclusively female.
Russian dance began and developed in close connection with the song, because despite all the variety of forms of round dance Russian dance, the dramatic beginning was laid down and comes from the rhythmic pattern of music. Analyzing the work of A. Klimov "Fundamentals of Russian folk dance" - "Each new era, new political, economic, administrative and religious conditions were reflected in the forms of public consciousness, including in folk art", we came to the conclusion that the development of Russian folk dance is closely connected with the entire history of the Russian people. Now we are seeing Russian dance as it has come down to our time, under the influence of all vital and human factors. From year to year, under the influence of progress in society, the evolution of dance takes place. Gradually, obsolete types of dance come out of the dance lexicon and new types of dance are born. Based on this, Russian folk dance is also under constant influence from outside, thereby continuously improving and enriching itself lexically.
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The history of the creation of the Georgian Folk Dance Ensemble. Evolution and reform of Georgian dance, the national character of ballet. Georgian Folk Dance Ensemble at the present stage. Ensemble of folk song and dance "Erissini", Georgian polyphonic melodies.
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Shaman dance as a prerequisite for the emergence of Altai dance, the history of its development. The role of folklore groups in the translation of national traditions. Dance Theater "Altam" as the first professional group of choreographic art of the Republic of Altai.
term paper, added 01/13/2018
Analysis of the school of folk stage dance as an integral artistic and educational system. Description of the penetration of folk dance into the depths of ballet art. An overview of the evolution of groups, combinations of costumes, subject to stage tasks.
control work, added 01/29/2012
The history of the development of Russian folk dance from its origins to the present day. Choreographic structure of round dances and dances. Methods of teaching folk stage dance at the initial stage of training. Rules for the execution of movements of folk exercise.
term paper, added 10/18/2011
The history of the creation of amateur dance groups. Influence of classical dance exercise on the formation of performing culture. Concepts and principles of dance performing culture. The principle of formation of the repertoire in the ensemble of folk dance.
thesis, added 09/24/2009
The Renaissance as a fertile time for the flourishing of dance art and dance music. Separation of folk and court (noble-feudal) dance. A quick change of episodes of a choreographic drawing in movements of different nature.
