Історична спадкоємність у збереженні фольклорного танцю етнографічних груп Прикарпаття

Abstract

У статті досліджено стильові особливості танців Прикарпаття протягом другої половини ХХ століття. Розглянуто специфіку хореографічних постановок засобами народного танцю, їх здійснили відомі балетмейстери. Висвітлено формування та розвиток фольклорного танцю етнографічних груп Івано-Франківської області.

В статье исследовано стилевые особенности танцев Прикарпатья в течение второй половины ХХ века. Рассмотрена специфика хореографических постановок известными балетмейстерами средствами народного танца. Освещены формирование и развитие фольклорного танца этнографических групп Ивано-Франковской области.

The publication studies the stylish features of the dances of the Prekarpathian region during the second half of the twentieth century. The specificity of choreographic productions by famous choreographers by means of the folk dance is considered. The formation and development of folk dance of ethnographic groups of the Ivano-Frankivsk region is described. Ethnographic groups of Prekarpathian region have preserved their customs and ordinances until today, which are studied by ethnographers, folklorists, historians. The problem of the implementation of a choreographic statement that would interest the modern viewer, but retained the authenticity of his native land faced by every ballet-master. Therefore, the problem of folklore material appears, and the folklore in Western Ukraine is an inexhaustible source for creating new stage dance compositions based on the principles of folk dance treatment. Many choreographic teams nowadays use elements of different types of choreographic art in their repertoire. Modern society needs new approaches to the development of choreography in general. But educating the younger generation is necessary on the principles of democratization and revival of national culture, to study history, to restore customs and traditions. The significance of the topic is to highlight the formation and development of folk dance ethnographic groups in the Ivano-Frankivsk region. The purpose of the article is to substantiate the role of folk dances of ethnographic groups of the Prekarpathian region in the system of Ukrainian folk dance. Problem statement is to substantiate the historical development of ethnographic groups of the Prekarpathian region, to find out the features of common and distinctive features, problems of the development of choreographic art. The ethnographic region of the Prekarpathian region is divided into the following ethnographic groups: Boykivshchyna, Hutsulshchyna, Lemkivshchyna, Opillia, Pokuttia. Keeping the authenticity in the development of folk choreography of boyko dance is reflected in dances that have much in common with their eastern neighbors – the Hutsuls, but the boykos perform their dances more calmly, more smoothly and freely, slightly bent their knees. Roman Harasymchuk believes that the main Ukrainian features of the boyko dance are enriched with the specific features inherent to Boyko’s choreographic art. Examples of folk choreography in the Prekarpathian region include Boyko’s dance: Boykovichanka, Dolinsky dribon’ky, Vyshkovsky veselyi, Lyubaska, and Boykivsky zabavy. Roman Harasymchuk divided the Hutsul dances into kolomyiks, kozachok, dancing derivatives, balance dances. This division is primarily linked to the metric-rhythmic structure, the choreographic vocabulary and the structure of the dance itself. Choreographic art Pokuttia began to study outstanding Ukrainian choreographer, ethnographer, artist Yaroslav Chupcherchuk. Exactly he resumed folk dances of Pokuttіa, such as “Golubka”, “Coquette”. The choreographic art of Opillia has been poorly studied. The issue of the development of folk dance requires further research. Obviously, every scientist, who have been studing Opillia will say something about this interesting and original ethnographic region. Lemko dances enrich the Ukrainian folk choreographic art with their specifics. The analysis of scientific literature shows that the problem of the development of folk dances of the ethnographic groups of the Prekarpathian region was not highlighted and it is not the subject of art studies research.