Географічні детермінанти формування народної хореографічної культури Тернопільщини
| Jazyk: | angličtina |
|---|---|
| Rok vydání: | 2021 |
| Předmět: |
хореографічна культура
Тернопільська область GV1580-1799.4 education.field_of_study Sociology of scientific knowledge Operationalization Dance народний танець Population географічні детермінанти танець Choreography (dance) Epistemology хореографія Frontier National identity Sociology Dancing Construct (philosophy) education |
| Zdroj: | Танцювальні студії, Vol 4, Iss 1 (2021) |
| ISSN: | 2617-3786 2616-7646 |
| Popis: | Purpose of the article. The article aims to identify the main mechanisms of the geographical factors’ influence on the folk choreographic culture formation of the Ternopil region. Methodology. To carry out the research, a set of methods was used: analysis of the literature, comparison of concepts, clarification of the term’s compliance with the denoted concept (terminological method), generalization of information, etc. Scientific novelty. For the first time, the concept of “frontier” in the meaning of the zone of different cultures’ intensive interaction was substantiated and introduced into the choreological discourse. Conclusions. Geographical living conditions, determining the features of artistic culture, including dance, affect the formation of the territorial identity of the population. The geographical location of the Ternopil region at the intersection of three regions (Galicia, Podillia, Volyn), which differ in many elements of traditionally everyday culture, causes a situation of a territorial frontier (“borderland”). The theme of the frontier in choreography remains practically not covered, although this issue directly concerns the existence of the Ukrainian ethnos’ dance and its role (as well as choreographic culture) in the formation of mentality, national character and national identity. If we consider the frontier as a complex, multifaceted phenomenon, including not only natural-geographical, economic, economic-historical, but also philosophical-cultural, spiritual-mental aspects, then the inclusion of an artistic and creative frontier, and in our case, a choreographic (or dance) frontier. The evolution of the meaningful content of the “frontier” concept in the twentieth century when implementing its operationalization, allows us to introduce this concept into choreographic scientific discourse. At the same time, the operationalization of the frontier concept in the status of the category of Art Studies raises the question of its interpretation as a choreographic construct, that is, the conceptual structure of choreographic scientific knowledge, and thereby be considered as one of the semantic factors in the formation of folk stage choreographic culture. |
| Databáze: | OpenAIRE |
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