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The emergence of folk dance. Russian folk choreography and its current problems

The emergence of folk dance. Russian folk choreography and its current problems

26.06.2020

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 capital's imperial stage.

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 dance 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 has either expanded or contracted, 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 one of the most widespread and ancient types of folk art. It arose on the basis of human labor activity. Throughout the centuries-old history of its development, Russian folk dance has always been closely associated with the labor calendar agricultural year (sowing, harvesting, etc.). It is closely connected with various aspects of folk life, customs, rituals, beliefs (birth, marriage, games, etc.). In dance, people convey their thoughts, feelings, moods, attitudes towards life phenomena.

Russian folk dance is inseparable from Russian song, which has always been a mass phenomenon and inseparable from the life of the people. The song left its mark on the character and style of the dance, defining the features of the Russian manner of performance, filling the dance with content and plot, emotional expressiveness and melodious plasticity. Being created over many centuries, the dance has become a true artistic encyclopedia of the social life of the people.

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 a Russian person, which, in turn, left an imprint on the dance, which, over the centuries of its development, has repeatedly undergone various changes. There was an evolution of dance forms, old ones died out and new types of dance were born, its technique was enriched and modified. In the history of the Russian people, several periods can be distinguished and the state of folk dance can be traced through them.

Already at an early stage of paganism, during the formation of the Eastern Slavic tribes, there were folk games or gatherings where a tribe, clan or several tribes or clans met. Deifying the sun, thunder, lightning, rivers, fire, stones and other objects, the Slavs worshiped them. The whole surrounding world was perceived by them in specific animated images. At the games, the Slavs had fun and performed rituals to propitiate nature, which, according to their concepts, consisted of many powerful creatures-gods and spirits. These rituals were accompanied by games, round dances, playful dances, singing, playing musical instruments and spells.

The ancient Slavs were engaged in agriculture, hunting, they were peaceful, hospitable people and almost did not know warlike dances. In pre-Christian Rus', games were widespread, the nature and content of which were imprinted by the agricultural life of the Slavs. These games were timed to coincide with calendar pagan holidays: semik - a holiday associated with spring agricultural work - sowing; obzhinki, spozhinki - the end of the harvest, harvesting; autumns - seeing off summer and meeting autumn; carol - a winter holiday; radunitsa, rusalia - winter-summer holidays in memory of the dead, or commemoration of the dead; Yarilin day - the holiday of the sun - Yarila; tausen - New Year, etc.

The introduction of Christianity as the official state religion led to a change in the nature of the gesture in the dance, new dance movements began to appear. During this period, some of the pagan rites die off, while others, having lost their original meaning, pass into games.

X-XI centuries - a period of bright flowering of the Central Russian feudal state, its culture, art. This period is also characterized by a great upsurge in the creativity of the people. The description of round dances, dances, songs, which are an integral part of folk holidays and princely feasts of that time, has been preserved in chronicles, oral folk art - epics, fairy tales, as well as in drawings and frescoes.

Buffoons played an important role in the development, improvement and popularization of Russian folk dance. They were the first professional performers of Russian dance, Skomorokhs not only maintained the traditions in the performance of the dance, but also complicated its drawing, vocabulary, improved the technique of performance, composed individual movements, and sometimes entire dances, introduced a bright game element into their performance.

From the end of the 17th century The Russian state is entering a new period of its development. This era is associated with the name of Peter. Art, in particular dance, acquires a secular character. The assemblies are being introduced that marked the beginning of public balls in Russia, and with them new European orders and new rules of secular behavior, which were regulated by the tsar himself.

The compulsory program of the Petrine assemblies included various European dances: the minuet - a French dance, Polish - like a polonaise, English - anglaise, a dance like a German grossvater composed in the Petrine era, etc. Everyone had to know new dances, they were taught both in educational institutions and in private schools. The spread of new secular dances was also facilitated by foreign artists, merchants, the military and numerous foreign masters living in Russia.

The decrees of Peter established the rules of conduct not only at ceremonial receptions and assemblies, but also at family holidays and weddings. These rules, consisting of sixty-three paragraphs, were published in a special manual for the education and upbringing of the children of the nobility called "An Honest Mirror of Youth, or an Indication for Worldly Behavior." The rules also talked about behavior during dances.

Together with dances, secular music entered everyday life, which was no less significant event, as it testified to the growth of musical culture in the country. Interest in dancing grew more and more. The first dance teachers appeared - dance masters, who were ordered from abroad. They not only taught dance, but also educate students.

Russian state in the XIX century. going through the process of development. The working class appears, the class struggle intensifies, the revolutionary protest of the people and their national self-consciousness grow. The development of capitalism in Russia, the formation of the working class, the growth of cities and the urban population with the formation of new social groups in them - artisans, petty bourgeois, petty employees, urban servants, etc. - the violation of patriarchal family life - all this could not but affect folk art, in particular Russian folk dance, its content and artistic form. Workers and small employees, city servants, students and clerks bring their own character, gestures, facial expressions, their manner of performance into the dances they perform. Many dances and round dances of this time are associated with May Day workers and city festivities. City and factory quadrilles appear, new dances - "box", "polka-butterfly", "two-step", etc.

The development of a professional ballet theater contributed a lot to the popularization of folk dance on the Russian stage, striving in every possible way to find a worthy place for it on the professional stage.

Each era in the history of Russian choreography brought forward not only brilliant masters of the classical style, but also gifted performers of folk dance.

In the Soviet era, the true flowering of folk dance takes place. Already the first festivals and reviews, in which representatives of all the republics and national districts of the country participate, demonstrate enormous artistic wealth, put forward gifted performers, folk dance enthusiasts. Thousands of amateur groups are trying their hand at creating new dances and reviving forgotten national compositions.

The Soviet era brought up a whole galaxy of talented masters who subtly understand the style of national dance and are able to convey its truly folk features.

The art of N. Stukolkina, N. Anisimova, V. Galetskaya, T. Tkachenko, Ya. Sangovich, N. Kapustina, N. Mirimanova, A. Lopukhov., S. Koren, A. Andreev, I. Balsky and many others is marked by new features, a new approach to folk dance. Their achievements are explained not only by the breadth of the repertoire, a new approach to the interpretation of folk dance, but also by the school, the system of choreographic education.

In the Soviet era, the study of national folk stage dance is of great importance. This is one of the major disciplines in the system of secondary and higher choreographic education.

The experience of the Soviet school was accepted by the choreographers of the countries of the socialist community. The ballet theater of the countries of the socialist community is a truly people's theater. His repertoire, his viewers are obliged to treat with special care everything that is connected with folk dances, folk images.

Forms of folk dance have been created for centuries. They are vitally connected with the life of the outfit, its way of life, work, and artistic taste. It is not for nothing that the dance is called a kind of chronicle of folk life. The people themselves kept their dance treasures. Forms of dance and the manner of their performance were passed down from generation to generation. However, under the conditions of the feudal and bourgeois system, many values of folk art were lost and destroyed. In some nations, as a result of poverty and religious oppression, national dances were completely lost. The folk dance art of Kyrgyzstan, Kazakhstan, Turkmenistan was revived only in the Soviet era. But even in those republics where the dance was preserved, it was necessary to cleanse it of alien layers and layers, to restore forgotten forms. Life demanded the creation of new folk dances, reflecting the character and deeds of the Soviet man, his joyful work and the modern ethical standards of his life.

The complex problems of folk choreography began to be successfully solved in the late 1940s.

These years were marked by the creation of a new genre of dance art, the contours of which were suggested by life itself, an unprecedented flourishing of folk art. It received the name "folk dance ensemble". Having turned out to be the most massive and favorite kind of art, it immediately gained popularity and love of the widest audience. In 1937, the first such ensemble was created. The tasks of the folk dance ensemble were precisely formulated by the creator of this ensemble. I. Moiseev. "The tasks of the ensemble," he wrote, "is to create plastic images of folk dance, weed out everything unnecessary and alien to it, raise the performance skills of folk dances to the highest artistic level, develop and improve a number of old dances, and also creatively influence the process of forming folk dances." Drawing material for his creativity in folk art, Moiseev creates new, his own dances, so close in spirit to the people that the people not only accept them, but also consider them their own. Immediately after the war, Moiseev created a suite of Polish dances, and then showed the whole program "Peace and Friendship", which included dances from many countries. It was not difficult to see that the source of this program is a truly folk dance.

At present, all the republics, all the peoples of our country have their own folk dance ensembles. The dance groups of the Pyatnitsky Choir, the Ural Choir, the Berezka Ensemble, the Ukrainian Ensemble led by P. Virsky, the Georgian Ensemble led by I. Sukhishvili and N. Ramishvili know the whole world and appreciate their bold creativity, artistic form and inner trepidation.

Russian dance is hundreds of years old, but it is currently experiencing a new stage in its development. Along with the established types of Russian folk dance and the traditional forms of its performance and construction, new types are emerging, new forms of construction are being created. Interest in him is ubiquitous. An increasing number of young people are taking part in the promotion and wide dissemination of Russian dance. Today there is not a single dance group, both amateur and professional, that would not have Russian dance in its repertoire. Dance ensembles, folk choirs and amateur groups of the Russian Federation and other republics also include Russian dance in their repertoire. Our numerous professional and amateur groups, groups of performers, duets and soloists have spread the glory of Russian folk dance all over the world.

The study of Russian folk dance, both ancient and modern, a correct understanding of the style, character and manner of its performance makes it possible to create on stage by means of dance a true image of a Russian person, and, most importantly, an image of our contemporary.

It owes its appearance to the harsh Russian climate. They say that jumps and tricks, which our dances are so rich in, are nothing but a way to keep warm in cold weather. After all, most of the folk holidays and festivities in Rus' used to take place only in late autumn and winter, when the old crop was already harvested, and the time had not yet come for the sowing of the new one.

Of course, such a version has But, be that as it may, Russian folk dance is an art quite ancient. Its first mention in historical documents dates back to 907, that is, even before. But when exactly the Russian people began to dance and what their first dances were, no one knows now. One can only assume that the Russian folk dance originally had a great ritual significance and symbolized a close sacred connection with nature. At least, such a judgment is made up of ancient national oral traditions, epics and songs.

It should be noted that Russian folk dance very accurately reflects the way of life, temperament and character of the people. It can be argued that the reflection of reality is one of the features of the dance art of our ancestors. And this is what makes the Russian stand out against the background of the world dance culture.

The first sowing or harvesting in Rus' has long been accompanied by all sorts of ritual actions. The round dance became their basis and smoothly turned into a classical dance for Russians. It can be argued that it is the round dance that is the forefather of our national dance art. Based on his motives, dances were created for centuries, which are still considered bright examples of national choreography today.

The Russian folk dance "Kalinka" is not a round dance, it is one that appeared, so to speak, breaking the chain of the round dance. Dance is the best way to demonstrate fun, cheerfulness, prowess and breadth of a person’s soul, characteristic of all Slavic peoples. But absolutely all Russian dances are filled with deep lyrical meaning, however, like the fun of a Russian person, it always echoes sadness. Another well-known example of classical dance is the Russian folk dance "Lady".

These and other Russian dances are a special art. Dancers, like theater actors, play a role in the production. They tell an interesting life story. They tell brightly, colorfully, using not only body movements, but also facial expressions and gestures. Russian dances are humor and laughter, somersaults and jumps, groovy dances that look especially impressive against the backdrop of bright national costumes.

It is also important that the masculine and feminine principles are clearly traced in Russian national dances. A man is energetic and courageous, a woman is majestic and proud. The stories in the songs about Great Russia, good tsars and valiant heroes, who have accompanied Russian dances for centuries, have made them a part of the history of the Fatherland.

Interest in Russian folk dance has never fallen either in Russia or in foreign countries. And today, many choreographic schools among the whole variety of dances prefer to focus on Russian folk - an art that has been tested for more than one hundred years.

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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 emergence of folk dance. Russian folk choreography and its current problems

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