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The purpose of the articleis to reveal the specifics of Dolynian folk dance as a folklore primary source of folk stage choreographic performances.Methodology.Following the specifics of the goals and objectives of the study, a typological method was applied, aimed at identifying the local features of the traditional Dolynian culture, in accordance with ethnographic zoning; the comparative historical method (for a comparative analysis of the folk choreographic culture of Dolynian territorial groups in the context of calendar and family rites in a historical context), the genre-typological method (for analyzing the reproduction features of various folklore dance material of Dolynians in the performances of folk stage dances).Scientific Novelty.For the first time, the structural and stylistic features of the traditional folk choreographic culture of Dolynians in accordance with the zoning were revealed; the choreographic elements, figures, steps and movements were analyzed.Conclusions.The originality of Dolynian choreographic vocabulary, as a result of the influence of many objective and subjective factors, for many centuries was formed in the conditions of the influence of the dance culture of Magyars, Romanians and Hutsuls (typical for the local-territorial group of Maramoros Dolynians), Hungarians and Slovaks (Borzhava and Uzhan Dolynians), as well as the specific features of the Lemko and Boyko culture (Perechynsk-Berezan Dolynians). Bright choreographic means of expression of ritual and ceremonial dances were revealed, among which “Uvyvanets” (Dovzhansky Dolynians), “Liudska skolomyika”, “Menosontants” (Borzhava Dolynians) and others. The presented study does not cover all aspects of the problem and can be used in further research on issues related to the development of the folk choreographic culture of Dolynians and Ukrainians in general, as well as become a basis for cultural and artistic research on the history of Ukrainian choreography, Ethnochoreology, Ethnocultural Studies, Choreographic Pedagogy, etc. |
