Folk art is the essence of the nation's mentality, 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 from the need of a person to express his emotional state with the help of the body. The dance reflects the daily life of a person, his workday. Joyful and sad impressions were also expressed through movements to a certain rhythm, and later to music.

Dance history

The dance originated at the dawn of history during the primitive communal system. All important events in the life of a primitive man - birth, death, treatment of a sick person, the choice of a new tribal leader, a prayer for the harvest, good weather - were accompanied by dances. Dance art has been and is present in the cultural traditions of any human community, in any ethnographic group. Gradually, dance separated from song and became a separate art form.

Over time, the choreography has changed, each ethnic group has its own characteristics. In Ancient Egypt, the art of dancing was mainly of a ritual nature. In antiquity, paramilitary dances were added to the ritual dances, designed to raise the spirit of the soldiers 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 is a division into court and country dance. This division does not yet have clear boundaries, and often the same movements were present in palace and folk dances.

Ballroom dance and ballet developed in the 17-19th centuries. But the origins of the court and stage choreography lie in folk dance. Now there are many dance styles and types, but they are all united by the unity of music, rhythm and movement.

Types of folk dance

The oldest type of folk dance that exists among almost all ethnographic groups is. His movements are simple and consist in walking in a circle accompanied by music or singing. The shape of the circle may have symbolized the sun. The round dance existed and still exists today among all Slavic peoples. In Lithuania it is called korogod, in Moldavia - chorus, in Bulgaria, Romania - horo, among Croats, Bohemians, Dalmatians - colo.

One of the oldest dance traditions is that of the African continent. The peculiarity of the 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 folk art of the black population of the world.

Folk dance created the basis for ballroom dancing as well. So, well-known and beloved by everyone, it originated from the old folk dance Volta, the mazurka, which became the queen of the ball in the 18-19 centuries - from the Polish folk dances mazur, kujawiak and oberek.

Some folk dances are the hallmark of one country, like tarantella for Italy, "Kalinka", "Barynya" for Russia, Cossacks, 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 all of them are united by one thing - they reflect the chronicle of the history of the people, its soul and character.

Features of folk dance

Folk dance is democratic. You don't have to be a professional to express your emotions and feelings through body movements: folk dance is available to everyone. Folk dance is anonymous, it does not have a specific author. Movement and music are passed down from generation to generation, evolving over time.

Course work

Russian folk dance: origin, regional characteristics

3rd year student (31 groups)

I.V. Mamot

Introduction

russian dance Slavic

Russian folk dance is one of the most widespread and ancient types of folk art. It arose on the basis of human labor activity. In the dance, the people convey their thoughts, feelings, moods, attitudes to life.

The development of Russian folk dance is closely related to 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 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 over the centuries-old path of its development.

Russian folk dance has developed in various directions. In pagan times, it was a necessary accessory for cult rites. These dances have long kept traces of everyday life, there and religious beliefs. But as the primitive communal system disintegrated, due to the division of labor and the growth of cities, dancers, professional songwriters and performers of music, songs and dances, emerged from among the people.

In different localities they bore different names, but the essence of their activity, in its diversity, is the same: professionals of the lower kinds of stage fun. They performed in squares, festivals and fairs.

The presence of diagrams, various drawings and frescoes from the past allows us to say that the dancers of that time had their own dance technique: “... built on the eversion of the legs, there was often a big batman in the II position, there is rond de jambe, en, l , air, echappe, jete; plucking and various jumps are practiced. For dancers, acrobatic dances on hands - cubistics - and virtuoso technique are typical; also a dance with balancing on hands and head - cubes and baskets ”.

The legends that have survived to this day about pile structures on Lake Ladoga in the pre-Christian period speak of the antiquity of dancing in Russia. Girls and fellows gathered on them "danced and played in circles."

In the 5th - 7th centuries, folk dance was performed during the "games". Their character was imprinted with the imprint of an ancient pagan idea. In the 8th - 9th centuries, the first ancient Russian state was formed - Kievan Rus. The adoption of Christianity contributed to the development of culture: churches were erected, writing was developing. Folk art is expressed in buffoonery. The buffoons played a huge role in the development and popularization of Russian folk dance: stage forms of folk art were born.

The purpose of this work is to reveal in full the beauty of Russian folk dance as 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.

Chapter I. Russian dance as a historical phenomenon

1. The historical origins of the dances of the Slavs

The original Old Russian dance is that folk choreography, the origins of which coincide with the time of the appearance and prosperity of Ancient Russia in about the 9th - 10th centuries. The further development of ancient Slavic culture, both in general and in the art of dance in particular, slows down somewhat, since 1236 was a turning point in ancient Russian history - the beginning of the Tatar-Monogol yoke.

It's just that after that Russia began to pay tribute, the Slavic people were driven into slavery - and, as a result, the ruin and devastation of many ancient Russian lands, the extinction of entire ethnic nationalities, etc. According to the estimates of various historians, Russia was thrown back in its development for several centuries. Thus, the development of Russia during the oppression of the yoke could not be called historically consistent. Rus simply forced a different story.

In my opinion, the origins of the choreographic culture of the Slavs can be divided into two types: material and spiritual. As the spiritual origins of Slavic choreography, one should recall mythology, gods, and holidays of Ancient Russia. The material sources of Slavic choreography include the life of the ancient Russians (agriculture, weaving, cooking, etc.). It is also worth highlighting the applied arts accompanying choreography - the arrangement of huts, the golden Khokhloma, Slavic folk costume, etc.

Separately, it should be noted that in Russia until 1236 there were two religions - Christian and pagan. Despite the fact that Christianity is now taken for granted, in fact, paganism was originally Slavic. As a result, it was ancient Russian paganism that had a greater influence on the origins of the dance of the Slavs.

Spiritual origins of the dances of the ancient Slavs.

Before Christianity and other monotheistic religions, all peoples were pagans. The culture of earthlings goes back millennia. In both cases, the most ancient history of peoples, and, most importantly, their views on space, nature and man was formed from the everyday life of ordinary people. Our modern ideas about paganism were formed on the basis of those ancient tales, songs, myths of our ancestors that have come down to our days. And not the last place in the list of these ancient arts is occupied by religious and ceremonial choreography.

The history of mankind shows us that before a person did not know the art of painting, religious architecture, the art of dance was natural and inherent in man by nature itself. He gazed with surprise at the fireball rolling over his head, and with a quick, cheerful dance showed the life-giving power of the sunlight; stood by a gusty stream, noisily falling from the mountain into the valley - there are dances in which the main figure is a "stream" symbolizing the flow of water; I felt a pleasant breath of air - a smooth dance form appears - a round dance. They conveyed a poetic vision of the beauty of their native land with their dances, conjured up a sunny image of the flowering of nature, the colors of autumn, the beauty of a green meadow.

The dances of those times were characterized by compulsory semantic content. Each figure of the dance had its own meaning, symbolizing a certain action, event. The general pattern of the dance was drawn by the people from the surrounding nature; in the “golden” pattern of the dance, silhouettes of leaves, flowers, birds and animals “shine through”. Bunches of ripening viburnum, grass bending in the wind, swaying birches, ears of wheat, flax leaves, flying birds.

Slavic paganism developed along different channels: some tribes believed in the forces of space and nature; others - in Roda and Rozhanitsa, others - in the souls of deceased ancestors and in spirits; the fourth - in totem animals, etc. Some buried their dead ancestors in the ground, believing that they then help the living from that World, leaving them something to eat. Others - they burned the dead in boats, sending their souls on a heavenly voyage, believed that if the body was burned, the soul would quickly rise to heaven and there each would die to its own star.

Naturally, these ritual actions were always accompanied by certain dances designed to facilitate the transition of the soul to another world, invoke the mercy of the gods on the sacrificial fire, etc. This dance was also called from the name of the stealing altar - Kraditsa.

The dance was danced mainly by women, with unhurried and smooth movements describing the life of the other world, where the souls of the dead fly off. There was a belief that the burnt one is carried away to paradise immediately, in front of the eyes of his loved ones. The soul was associated with breath and smoke, and the dancers' movements of the hands seemed to help the smoke rise upwards. Then the larks picked up the soul, the first birds that arrived in the spring from the vyriya-paradise - the dance movements become similar to the flapping of the wings of a flock of birds and is called the Radunitsa dance.

With the development of religious ideas among the ancient ancestors of the Slavs, festive rituals began to acquire a witchcraft, magical meaning. Performing, for example, a hunting dance, people imitated hunting for animals or birds, reproduced their movements, habits. During the dance, figures or images of animals that were to be hunted were hit with spears and arrows. People were sure that, having performed this rite correctly, they would ensure good luck in the hunt.

The ancient Slavs began to endow supernatural properties with those forces and phenomena of nature, on which their existence depended to a great extent at that time. People began to ascribe magical power to the sun, thunder, rain, rivers, began to believe in various spirits, good and evil, trying to attract both of them to their side by worship and sacrifices.

In the 6th - 8th centuries. cities arose in Russia, crafts and trade received their further development. All this, taken together, determined the further development of the culture, life and religion of the Eastern Slavs, which was based on the cult of nature and the cult of ancestors.

The practice of propitiation of spirits and gods by sacrifice and worship led to the creation of a rather complex religious cult. This practice had a rich design and a detailed, consecrated ritual.

Material aspects of the origin of ancient Slavic dances

The main role in the agricultural religion of the Slavs was played by rituals and holidays associated with various periods of agricultural production. By their nature, these ceremonies and the corresponding ritual dances were predominantly magical in nature and constituted an integral calendar cycle.

The cycle of these rituals and holidays began in winter, at a time when the days become noticeably longer, when "the sun turns into summer." According to the beliefs of agricultural religions, this was the moment of the birth of the sun god. Many rituals and holidays were associated with this period. Among them were Christmastide, Christmas carols with the final moment of this cycle - Shrovetide, which contained such rituals as invoking or invoking spring, seeing off winter (burning her straw effigy), etc.

The future harvest was symbolized at the holiday by a sheaf displayed in the front, "red" brow. The owner and the hostess, sitting down at the festive table, echoed among themselves, pretending that they did not see each other, and said: "In order not to see each other in the same way in the fall behind stacks and carts of bread, heaps of vegetables." Festive ritual songs and dances contained spells that supposedly ensure a good harvest and a large number of livestock:

Many other cleansing rites were associated with the meeting of spring and the farewell to winter. They were based on the belief that during the dark, cold winter, a lot of different evil spirits had gathered, which should have been neutralized and expelled from the home and from the fields. For this, the Slavs washed their huts and washed themselves. They collected all the garbage in the yard and burned it at the stake. The fire was made as smoky and stinking as possible. All this supposedly drove away evil spirits. Having thus cleansed themselves, the house and the yard, people went to the fields and sprinkled them with ashes from the cleansing fires. Willow branches were placed in the corners of the field.

The arrival of spring is marked by a general revival of nature, the arrival of birds. With the arrival of spring, people had the opportunity to go out into the fresh air, soak up the warm rays of the sun. The person experienced a joyful, elated mood. It is no coincidence that spring has always been a period of holidays.

One of such spring holidays in Russia was the “red hill” holiday, which got its name from the “red” spring, from the “red” ones, that is, beautiful hills, hills, hills, the first to be covered with grass under the rays of the bright spring sun. On these slides, in fact, the holiday was celebrated; they played folk games, sang songs, danced - a series of "red" dances, danced in round dances. "Krasnaya Gorka" is also the time to conclude marriage unions.

At the same time, people believed that in the spring, with the revitalization of vegetation, plant spirits come to life, with the opening of rivers and lakes, water spirits, mermaids appear, the spirits of the dead emerge from the ground. Some had to be expelled and rendered harmless with the help of cleansing rituals, others had to be attracted to their side, appeased. For this, complex rituals were performed, the administration of which already required the participation of the Magi, wizards, who "knew how" to enter into communion with gods and spirits by means of spinning dancing. Hence the name of the dance Vertimka.

As soon as the grain began to spike, a critical moment came again, requiring the help of supernatural forces. For this, in ancient times, there were special ceremonies called "ears of corn". The central place in these ceremonies was occupied by birch, a Russian beauty covered with delicate foliage, all in earrings. The rapid and lush flowering of the birch was attributed to its special fruitful strength, and people tried to transfer this strength to the fields.

For this, the girls went in a crowd into the forest, where they put pies, scrambled eggs under a chosen birch tree and arranged a feast: they sang songs, danced in circles. Here you can recall the modified, but preserved to this day round dance "In the field there was a birch tree", tk. sometimes a birch tree was cut down and placed somewhere in a field on a boundary or near a village, and a festival was held here.

When the grain began to ripen, and the time of their harvest was approaching, a new cycle of agricultural rituals, spells, and festivities began.

This cycle began with the holidays dedicated to the deities Kupala and Yarila. Kupalo was the god of abundance and harvest, the god of ripe earthly fruits. Sacrifices were brought to him at the beginning of the harvest. Festivities in honor of the god Kupala with the lighting of bonfires with "living fire" were very widespread among the Slavic peoples.

On the night of Kupala, the fields were bypassed in round dances with chanting of special conspiracies. The purpose of all these rituals was to protect the ripening loaves from evil spirits. A relic of even more ancient beliefs dating back to the era when people did not know agriculture and only gathered wild fruits and cereals, were the rituals of collecting magic herbs on the Kupala night, and in particular the search for the legendary fern flower. In many places, the holiday dedicated to Yarila was combined with fairs and marketplaces. During the holiday, games, dances, fist fights were organized.

The harvest was celebrated with special feasts: zhinka at the beginning of the harvest and reaping at the end of the harvest. The first bread of the new harvest was baked from the baked sheaf, the sheaf was placed in the hut in the front corner. Grain from it during sowing was poured into the first furrow or mixed with seed grain. Before starting the harvest, they sacrificed to the field spirit, with special spells they expelled evil spirits supposedly sitting there from the sheaves. These are, in the most general terms, the holidays and ceremonies of that part of the ancient Slavic population that was engaged in arable farming, that is, its majority. Religious festivities of the inhabitants of the developing cities of Ancient Rus, merchants, military squads, fishermen, hunters had some peculiarities. These features were determined, first of all, by the nature of the economic life of these strata of the population. The city demanded constant patrons, and military squads and merchants - constant guardians-assistants in campaigns. So, we saw that the holidays of the Slavs, having arisen in ancient times as folk holidays on the basis of economic and social relations, were not originally associated with any religious beliefs. And they took shape before religious beliefs appeared. In the process of further development, these deeply popular industrial and household holidays turned out to be permeated, filled with magical, religious content.

2 The importance of applied arts on the emergence and development of Slavic choreography

In some books there are notes that painting still existed before baptism, however, it was roughly carved relief pictures on the walls of buildings (huts), which were then painted with improvised paints (ocher, whitewash, etc.). These were, as the rule, portable idols-gods, which were transferred from place to place during ritual dances. This remnant of the connection between ancient Russian dance and painting can be seen now in some Ukrainian folk rituals - wearing a star for Christmas, a nativity scene with theatrical performances, etc.

A new stage in the development of ancient Russian painting - the painting of Christian Rus - played a very important and completely different role in the life of society than modern painting, and this role determined its character. The height reached by it is inseparable from the very purpose of Old Russian painting. Russia received baptism from Byzantium and along with it inherited the idea that the task of painting is to "embody the word", to embody the Christian doctrine in images.

Therefore, the basis of Old Russian painting is the great Christian "word". Recall, for example, the wearing of icons during the procession on Easter - this has a distant reminder of ritual walks with dancing and singing of pagan altars.

At the same time, the development of Old Russian painting along a path not associated with church tradition. She developed not only new genres and types (portrait, still life, landscape), but also did not create a sacred image, but sought to depict ordinary people, memorable events of human life. And of course, on the surviving rarities of ancient times, you can see festive events - round dances, dances, performances of mummers, etc.

In an approach to everyday reality, folk craftsmen saw an opportunity to pass on to their descendants their inner world, their life with its holidays and everyday life, joys and sorrows.

At the beginning of the 19th century, the greatest work of Old Russian literature, The Lay of Igor's Host, was discovered and gained fame. Following this, throughout the century, scientists are looking for other literary works on the pages of ancient manuscripts. Scientists, poets, writers collect and record monuments of ancient literary creation stored in the living oral folk tradition - epics, fairy tales, songs. And again in them we can find frequent references to the fact that the origins of the choreographic art of the Slavs are visible even in such a distant from the world of dance as literature.

Simultaneously with the development of Old Russian dance, national origins in music were also discovered, and the creation of the first musical melodies for dance began. At first, simple and monophonic, which later turned into beautiful works of ancient Russian music, folk songs, ancient church chants.

Composers of the last century from M.I. Glinka to S.V. Rachmaninov, as well as modern composers, are steadily turning to these sources, each in his own way enriches his work with them. These origins attract attention, become the subject of study. The ancient musical creativity of our ancestors becomes a source of inspiration for us, the descendants of the ancient Slavs, a living key that feeds new, "European" Ukrainian music and choreography.

Separately, it should be noted the huge role in the development of folk choreography, both in ancient times and in a relatively later time, historical folk costume. Since for each type of dance a different costume was used, taking into account the season.

For example, if a certain religious pagan holiday fell on the winter, then in warm clothes at 30 degrees frost it is very difficult to dance a slow, poetic round dance form - therefore, the rhythms of the dances accelerated, the figures are simpler, but energetic. So in the past, the Slavic people, creating their traditions and customs, adapted their national costume for them, which we look at today, never ceasing to be amazed at its colorfulness and poetry.

2. The wealth of forms of Russian choreography

1 Features of the forms of Russian folk dance

The oldest folk dances in Russia were dance games depicting labor processes.

The most ancient Russian folk dance was a round dance, it was accompanied by a song. The round dance is a mass dance, its drawing - a simple circle - personified the movement of the Sun around the Earth. Whole scenes were played out to the singing of the dancers in a round dance.

Typical distinctive features of the forms of Russian folk dance

Round dances

The basis of the round dance is the joint performance of a round dance song by all its participants. Dance, song and round dance are inextricably and organically linked. The round dance brings together and gathers a large number of participants.

A round dance is a massive folk action where dancing, or just walking, or playing are inextricably linked with the song. Round dances have a cult-ritual, social and everyday theme. The participants in the round dance, as a rule, hold hands, sometimes for a scarf, shawl, belt, wreath. In some round dances, the participants do not hold hands, but move one after another or side by side, keeping a strict interval, sometimes they go in pairs.

The round dance is widespread throughout Russia, and each region brings something new, creating variety in style, composition, character and manner of performance. Round dances are performed at a slow, medium and fast pace.

But in different regions of Russia there are local peculiarities of the performance of round dances associated with natural and climatic conditions, with the specifics of everyday life and work, human relationships that were formed in different living conditions. These features are manifested both in the composition of the performers, and in the rhythm, and in the content of the songs to which the round dance is performed, and in the manner of performance inherent only in this area.

The performance of round dances is also influenced by the variety in costumes, which in different areas differ significantly from each other and are sometimes very far from the generally accepted "Russian sundress" to which we are so accustomed on stage. Figures are of great importance when staging round dances. The figures can be formed by girls alone, or boys, or boys and girls together, which can be arranged in various ways.

Russian folk dances were solo and massive. Mass dances are, first of all, dances, games, round dances, and later - quadrille, lanes, sixes, etc.

In ancient times, dances were of a ritual, cult character, but over time they acquired a household one. Dance is the most widespread and favorite genre of Russian folk dance. The dance was born in a round dance and came out of it, breaking the round dance chain, complicating the technical basis, creating its own forms and patterns, replacing the round dance song with a dance song and various musical accompaniment. The dance can express various states of a person.

The dance consists of a number of separate movements - elements that differ in their characteristic manner of performance, have a Russian national flavor. Every movement in the dance is filled with meaning. A variety of movements, the number of which increases many times due to the improvisation of performers, is a characteristic feature of Russian dance. The Russian dancer has very expressive arms, head, shoulders, face, hands, etc.

Dance makes it possible to reveal personal, individual character traits. Boys and girls, men and women, teenagers and the elderly can participate in the dance. The male dance is characterized by breadth, scope, prowess, strength, attention and respect for the partner. Women's dance is characterized by majesty, smoothness, nobility and sincerity, but often it is performed vividly, with enthusiasm.

Each dance has its own content, plot. One of the distinctive features of the dance is individual improvisation. The dance differs from the round dance in the richer and more complex vocabulary of dance movements. In addition to enriching the vocabulary, the dance makes it possible to complicate and diversify the spatial pattern: dashing exits of guys, perky passages of girls, dashes, crossings of pairs of various patterns, etc. - all this creates new drawings and constructions inherent only in dancing.

Distinguishes dance from a round dance and musical accompaniment. Dances go not only to songs, but to the accompaniment of various musical instruments. The songs to which the dances are performed are mostly fast, their melodies are brightly colored with accents and a pronounced active rhythm. Such songs are called dance songs. Dance and round dance songs somewhere approached, not always having sharply distinctive features. Dancers and spectators of the dance emphasize its rhythmic accents with the help of side voices, shouts, claps and various musical instruments. The dance can be accompanied by many Russian folk instruments. Instrumental accompaniment is another main feature that distinguishes dance from round dance.

In ancient times, dances were of a ritual, cult character, but over time they acquired a household one. Dance is the most widespread and favorite genre of Russian folk dance.

But the Russian solo dance is especially good, when two men compete in a violent dance, a girl and a guy dance in a pair duel. The girl in it coquettishly invites, and the young man seeks to answer her with daring and daring.

In a solo dance, the dancer was required to expressive performance - high technical skill and acting talent, the ability to convey the content of the dance to the viewer. At the same time, the content was conveyed necessarily in a realistic, reliable form, without conventions and symbolism. The dance had a clear dramatic foundation. All these qualities later became the main component of Russian national culture, Russian ballet art.

In terms of the number of performers, the square dance can be attributed to group dances, but its later appearance and appearance in the everyday life of a Russian person, a kind of structure, a clear division into pairs and figures and a number of other features distinguish the square dance from traditional dances. Therefore, the square dance stands out as an independent form. The square dance has its origins in the French salon dance. The French square dance began to spread among the Russian people at the beginning of the 19th century.

For decades, the square dance has been modified, improved and created anew among the people. She acquired peculiar movements, drawings, style of performance, taking from the salon dance only some of the features of the structures, and the name. The Russian people made the square dance varied in design, introducing into it many figures of Russian round dances and dances. The form of the quadrille also became richer, it began to be performed in lines, and in a square, and in a circular construction. A different number of pairs began to take part in the quadrille: 2, 4, 6, 8 and more, but always even. In some areas where there were few men, quadrille performed by girls alone appears. If the French square dance consisted of 5 - 6 figures, then in the Russian folk square dance there are from 3 to 14 or even more figures.

The names of the figures of the French quadrille had almost no relation to the essence of the dance. In the Russian quadrille, the figures received various names based on local characteristics, and most importantly, these names clearly characterize each figure in terms of choreography or its content. Some of the quadrille figures include elements of such types of Russian dances as single and dance. Each figure of the square dance is performed to a separate common dance song or melody. Each figure is separated from the other by pauses - stops, both in music and in dance.

Before the beginning of each figure, the leader, usually a young man of the first pair, announces the name or serial number of the figure. Each figure almost always ends in a whirl, which most often occurs in a clockwise motion. The quadrille could be danced in rich, festive and everyday folk costumes.

The first professional performers of Russian folk dance were buffoons. In Kievan Rus, buffoonery was very popular. In those distant times, buffoons were considered creatures marked by gods, and their art was a service to the deity. They formed special "gangs" that wandered around Russia and gave performances called disgrace, ie. spectacles. The skill of performing Russian dances by buffoons was quite high.

The immediate successors of the buffoonery performances were games - short folk theatrical performances of a satirical nature, ridiculing human vices, depicting the eternal theme of the struggle between good and evil. The main expressive means of the merrymaking were dances and pantomime, with the help of which the content was conveyed. Dance was also of less importance in folk comedy. The folk puppet comedy preserved the ancient folk dance, carefully selecting and generalizing its movements that had evolved over the centuries. Simplified, perfected by the distinctness of the performance, they made it possible to convey the character, the original dance techniques of Russian, Ukrainian and Gypsy dances.

2 Types of forms of Russian folk dance

Round dance types

Ornamental

If the text of the song accompanying the round dance does not contain a specific action, a pronounced plot, characters, then this is an ornamental round dance. The participants of the round dance walk in circles, in rows, braid various figures from the round dance chain, coordinate their step with the rhythm of the song, which is only a musical accompaniment.

Sometimes ornamental round dances, with their drawing, construction, reveal and convey the content of the song. The content of the songs accompanying ornamental round dances is most often associated with images of Russian nature, with poetic generalizations, the collective labor of the people, and their way of life. These songs are distinguished by a clearer rhythmic structure that unites the participants in a round dance in a smooth or fast dance movement. In the drawings of ornamental round dances, the element of pictoriality is very strong - "curling cabbage", "braiding wattle".

Ornamental round dances in various regions of Russia are called curly, patterned, lace, etc. This round dance is distinguished by the severity of forms and a small number of figures. The whole round dance consists of only a few figures that organically transition, shimmer, rearrange from one to another.

A round dance, in the song of which there are characters, a game plot, a specific action, then the content of the song is played out by all participants in the round dance at the same time. The performers, using dance, facial expressions, gestures, create various images and characters of the heroes.

Often the characters in the song are animals, birds, and then the participants in the round dance imitate their movements and habits. In game round dances, the main thing is the disclosure of the plot, the clash of characters and interests of the characters. Most of the themes for game round dances are contained in songs that reflect the life and life of the people.

A round dance organically includes a handkerchief, ribbon, wreath, stick, etc. These objects sometimes serve as symbols. So the wreath symbolizes the marriage union, the handkerchief replaces the pillow, feather bed, etc. In such round dances, a performer playing a role can stand out, and sometimes two or three, but most often several characters stand out.

In playful round dances, the construction pattern is simpler than in ornamental ones. Compositionally, these round dances are built in a circle, or in lines, or in pairs. In the center of the circle, an action takes place, a plot is played out. In the linear construction of round dances, the participants are divided into two groups, which conduct a kind of dialogue. There are certain groups of songs that require a mandatory linear construction, or just circular. In game round dances, the artistic abilities of the participants acquire great importance.

Each drawing, each construction of a round dance has its own specific name. For example: "circle", "collar", "figure eight", "column", "basket", "carousel", etc.

These specific constructions are called round dance figures and are an integral part.

The dance pattern is the location and movement of the dancers across the stage. The dance pattern, like the entire composition, must be subordinated to the main idea of \u200b\u200bthe choreographic work, the emotional state of the characters, which is manifested in their actions and deeds. The dance pattern is closely related to the choreographic text.

Types of dances

Single

It happens male and female. It most fully reflects the individuality, skill, ingenuity of the performer. The solo dance is based on the improvisation of the performer. Dancers with their movements can convey joy and fun, a deep feeling of love and humor, and the dancers also bring movements associated with labor processes, images of birds, animals, etc.

A single dance has its own well-established traditions of performance, a certain form of construction. It starts with moving in a circle - walking - or with going into a circle and performing some movement on the spot - with a trick. This is the beginning of the dance, then its development follows and the dance reaches its climax, and the finale follows.

It is performed mainly by a boy and a girl, less often by a man and a woman, but the elderly do not take part in it. The content of the pair dance is like a heartfelt conversation, a dialogue of lovers. Most often these are wedding dances. But sometimes in pair dances, the content and mood is somewhat different: equality or a slight resentment of lovers is conveyed. Mostly pair dances are very lyrical. They do not have a strictly established pattern, rapid growth and energy of performance. It is even in pace.

Re-dance

It is a competition in strength, agility, ingenuity. It is a show of the performer's personality. Two guys or two men took part in the old Russian dance, the girls did not take part. The dances were performed to the accompaniment of musical instruments, less often to a song.

The dance began slowly and ended at a fast pace. With the change in everyday life, everyone (women, men, elderly people) began to perform the dance, but only two are involved. The re-dance is performed to the well-known widespread melodies, sometimes to ditties. Currently, several people are dancing on the stage on one side, several on the other, but at the same time the task and nature of the performance of the double dance is preserved.

Mass dance

There is no age or number of participants in this dance. Mass dance is most often performed in pairs - one against the other. They dance one by one, three by four, but each dancer has his own task - not only to show himself, but also to dance better than the one standing next to him. Each performer can enter and exit the dance anywhere, without waiting for the end. The performer can dance anywhere on the site and with any dance participant. On stage, mass dancing is rare.

Group dance

A group dance can involve many people, but more often its composition is limited to a small group of performers. Group dance has an established structure. She absorbed many figures of round dances, some group dances included single or pair dances, improvisation is used.

Group dances are performed not only by boys and girls, but also by middle-aged men and women. Most often they are performed in pairs or triplets. Group dances are very diverse in terms of patterns, plot and content. She always has the exact place of birth and existence. Each locality has its own traditional dance themes, forms of construction, manner and local flavor. All dance figures are circular: performed counterclockwise. Group dance continues to live now both among the people and on stage.

Types of square dance

Square

It is performed in four couples facing each other at the corners of the square. The movement and transitions of pairs occur diagonally or crosswise. Square quadrills are danced all over Russia.

Basic constructions and transitions of pairs:

a) all pairs simultaneously converge to the center and then return to their places;

b) two opposite couples go to meet each other and change places;

c) two opposite pairs go to meet each other and form a circle, after turning in a circle the brines go back to their places or change places;

d) two opposite pairs converge to the center, and the guy of one pair passes his girlfriend to the other, and he himself dances in front of them.

Linear

From 2 to 16 couples can participate. The pairs are arranged in this order: to the left of the viewer, the first pair, in another line, opposite to it, the second pair, etc. Each pair almost always dances with only the opposing pair.

Linear quadrilles have their own constructions and transitions of pairs:

a) the lines simultaneously converge with each other and diverge again, or one line stands still, and the other approaches it and departs;

b) the girls form a circle between the two lines of the guys; the circle can consist of guys, then the girls are in lines;

c) two lines go towards each other; one line runs under the "collar" of the other.

The respectful attitude of guys towards girls is characteristic of these quadrilles.

Circular

An even number of pairs is involved, most often 4 or 6, less often 8 pairs. But sometimes an odd number of pairs can dance in a circular quadrille, but not less than 4 pairs. Pairs are arranged in a circle, they are counted clockwise. The first pair is to the left of the viewer. In circular quadrille movements of pairs and single transitions occur in a circle, counterclockwise, as well as to the center of the circle and back:

a) the guys stand in their places, and the girls move in a circle until they again reach their partners;

b) boys and girls simultaneously walk in a circle in opposite directions until they reach their partners;

c) girls or boys converge to the center of the circle and form a "star" or circle; having made a full turn in this formation, they return to their pairs;

d) boys or girls form an inner circle, facing the outer circle; performers make a detour with their partners with the right or left shoulder forward.

There are also a number of other crossings. The circular square dance is performed with a simple, shuffling and variable step.

3 Basic elements of Russian folk dance

In Russian dances, performers hold hands or a handkerchief, forming various patterns - constructions. When constructing such figures, hands can be raised up, open to the sides, lowered down, etc.

The figures can be formed by girls alone or boys, or boys and girls together.

In this figure, the number of participants is not limited, but there must be at least three people. Boys and girls, facing the center of the circle and holding hands, form a vicious circle. Hands freely, without tension, move away at a slight angle from the body down or up. Circular movements are usually clockwise. Having made a soft half-turn with the body in the direction of movement, boys and girls walk with a simple step or with a variable, as well as with a variable step with a head.

"Star"

Boys and girls, standing at the back of their heads, in a circle to each other, connect their right or left hands in the center of the formed circle. Opposite hands are in third or first position. This figure can be built from both an even and an odd number of participants, but no less than three and no more than eight people. In this construction, you can move in a circle with a simple or variable step, as well as a step with overstepping.

"Carousel"

The base of this shape is an asterisk. The boys form an asterisk with their right hands, and with their left they hold the girls' right hands. At least three, but not more than eight pairs can participate in the construction of this figure.

"Basket"

It is formed from two circles - a circle within a circle. Standing facing the center, young men and women join hands, each forming a circle. The outer one consists of boys and the inner one consists of girls. The "basket" moves with an "accordion" or "fit". The performers' heads are turned in the direction of travel, towards their partner or towards the center of the circle.

"Chain"

Participants stand in one line, elbows touching each other. The arms are bent at the elbows and raised in front of you at chest level. The right hand, having described a semicircle from top to bottom, descends with the elbow on the left hand of the partner standing on the right and, continuing the movement, pass under his left hand. The "chain" can move both to the right and to the left with an "accordion" or "fit". The heads are turned in the direction of travel or remain straight.

Handkerchief Handling (Women)

A) The handkerchief is located on the side of the palm turned towards the body: passing the end of the handkerchief between the index and middle fingers, draw its short end between the middle and ring fingers towards the palm.

B) The handkerchief is located on the back of the hand, with the palm turned towards the body: passing the short end of the handkerchief between the index and middle fingers, we bring it out between the index and thumb.

The most characteristic hand positions with a handkerchief in girls

A) The right hand with a handkerchief touches the chin with slightly bent fingers. The edge of the palm is directed away from you. The left arm, bent at the waist, supports the elbow of the right hand with the palm or the back of the hand. The head is tilted towards the right shoulder.

B) The bent fingers are connected by a "lock" at the chest level. The hands move slightly away from the body; the elbows are at the same height as the hands.

C) Both arms are raised up, elbows are slightly rounded and directed to the sides. The handkerchief is held by the ends with both hands and is played out.

The most characteristic hand positions in young men

A) The right arm is bent at the elbow at chest level and clenched into a fist directed with the back of the hand away from the body. The left arm, bent at the elbow, clenched into a fist, is brought behind the back and directed with the back of the hand towards the body. Hands do not touch the body.

B) The left hand is wide open to the side, palm up. The head is turned in the direction of the hand. The right hand, bent at the elbow, touches the back of the head with the tips of the fingers, as if supporting the hat.

Chapter III. Specific features of Russian folk dances in Siberia

The Russian folk dance of Siberia is inextricably linked with the general Russian dance folklore, but it has its own specific features, inextricably linked with the history of the settlement of Siberia.

The formation of the distinctive features of Siberian folk dance creativity was influenced by the constant contacts of Russian immigrants with immigrants from Belarus and Ukraine who are close to them in cultural traditions. So, in solo dances, dances, especially among women, the same hand positions are found both in dances among Russians and Belarusians. A more modern form of dance - mass dance with ditties - is performed compositionally in the same way.

Dance, the most common form of choreography, is ubiquitous in Siberia. Immigrants from the European part of Russia brought with them the main types of dances, preserved their style and technique. Retaining the original basis and passing from generation to generation, the dance has developed, opening up a lot of space for individual and mass creativity.

Not a single national holiday, festivities were complete without dancing. This is evidenced by travelers in Siberia, writers, researchers of folk art.

Like any other, Siberian dance consists of separate movements that differ from each other in the manner of performance, reflect the specific features of the dancing person. With the help of dance elements, the performer reveals the content of the dance, creates this or that artistic image. All movements performed are subject to the rhythm and tempo, the nature of the musical or song material.

The performers of the Siberian dance have a very expressive upper body, especially the head and arms. Performing the dance, the Siberian revealed his individual features, demonstrated his ingenuity. If the performer "screwed" an intricate knee into the dance, then after the obligatory passage around the circle with fractional or interchangeable steps, he jerked his head up. Siberian dances are simple in construction and selection of movements, so they are available to everyone who wants to dance. Both boys and girls could participate in the dances, less often married men and married women.

Siberian dances, in contrast to the dances of the western regions of Russia, are performed by a small number of participants, since the place of their performance in winter was a hut, in summer on the street - a place near the house. Some are held at a fast pace, for example, the "Semeyskaya" dance "Scissors", others, for example "The Lady with a Dive", begin at a slow pace and end at a fast pace. In such dances, there is a strictly established choreographic structure.

It is known that the dance was born from a round dance, giving free rein to the creative imagination, the individual skill of the performer. Due to climatic conditions, everyday life, dancing in Siberia acquired its own specific features. Its technical basis is complicated, it has its own forms and patterns, the round dance song is replaced by a dance song.

The talented Siberian people have created many dances that are different in structure and content. Each of them had its own style, its own manner of performance, its own vocabulary. Male Siberian dance is distinguished by daring, virtuosity, dexterity, humor, combined with modesty, attention and respect for the partner. Female Siberian dance is characterized by pride, nobility, smoothness and at the same time humor and enthusiasm. For example, such dances as "Serbiyanochka", "Saratova", widespread in Siberia, are a vivid emotional expression of the Siberian Russian character.

A distinctive feature of both general Russian and Siberian dance is individual improvisation, that is, the free combination of different movements, complication, composing new and developing old versions.

Siberian dance is distinguished by expressiveness and meaningful vocabulary. This vocabulary, in contrast to the round dance, has a richer and more complex character. In some Siberian round dances, for example, in "evening", "sitting", "passing", there are; elements of dance and dance, where the soloists stand out, acting out the action of the song, but the dance language is technically limited. In dances, the vocabulary is much more complicated: it includes fractions, rotations, crackers, squats, etc. Unlike a round dance, the performer has the ability to dance in space: the "trick" of men, walking in a circle of women, all kinds of transitions, rotations in pairs, etc. - all this makes it possible to create new drawings, constructions that are inherent only in dancing.

Often they danced to the same song in one village, and danced in another. For example, the "Semeiskie" in Buryatia danced to the song "I walked along the bank", and the inhabitants of the Novosibirsk region danced in a slow circle.

Siberian dance acquired a more dynamic character when a new peculiar genre of Russian folk song art appeared - a ditty. The ditty brought with it new rhythms - sharp and peculiarly smooth. More modern dances, such as "Saratova", "Tabora", "Tyukhteka", were performed to accordion with ditties, when the performers famously danced fractions and squats. Sometimes the dance was accompanied by hand claps.

Other features influencing the formation of local traditions of Siberian dance folklore are due to the originality of life and everyday life, the economic practice of the Siberian peasant. In Siberia, the main occupation of the peasants was agriculture, hunting, fishing, with agriculture being the predominant type of activity. Hence the ritual traditions associated with different periods of agricultural work.

Natural and climatic conditions had an undoubted impact on the formation of the folk dance art of Siberia. The harsh climate, long winter not only formed a special type of person, his internal and external appearance, the originality of clothes, shoes, but also largely determined the peculiarities of the composition, manner and character of the dance performance. So, for example, in the winter, when the male population went to the taiga to hunt, and the women were engaged in needlework, most of the time was spent in the huts. They sang songs, led evening round dances, young people started games. The limited space of the hut gave rise to sedentary round dances.

Thus, the emergence and development of the traditions of Siberian dance folklore is due to a whole complex of factors, their interaction and unity, as a result of which national and local, local manifestations merged in it.

What is the originality of Siberian dance traditions manifested in?

There are three main groups of signs that reflect the local characteristics of folk dance - ethnographic, stylistic and performing.

Ethnographic features reflect the forms of folk dances. First of all, they are manifested in the nature of the rituals, accompanied by songs, dances, music. For example, the drama of a Siberian wedding differs significantly from the traditions of the northern regions of Russia: if in Siberia, majestic, dancing, cheerful in mood songs prevail, then in the North the entire first part of the wedding ceremony has an emphatically dramatic character: the crying of the bride, sad songs-lamentations of her friends. Differences can be found not only in local wedding rituals, but also in all other traditional rituals - family, calendar.

Folk choreography as an integral part of the wedding ceremony did not have the main semantic purpose, but as an expressive means of a holistic rite, it is of undoubted interest for choreographers.

At the evening in the bride's house, they mainly danced on a love theme, that is, they "singed" the groom. The very nature of the evening reflected the pre-wedding situation. Basically, they led game and evening round dances, where the characters were a girl and a guy. Round dances ended with a kiss from the couple who danced in the middle of the circle.

In terms of composition, such round dances were simple. They include the following patterns: a circle as the main pattern of a round dance, a circle within a circle, "snake", "collar", "shoot an arrow". The main dance step is a "step from the heel" to the entire foot for each quarter. Round dance performers took each other by the hand and moved in a given direction.

In the second stage, when there was a walk in the groom's house, there was no round dance as a genre of choreography. Dances and dances were performed - dances at a faster pace and emotional in character. These are group dances, mixed in composition, that is, they were performed by men and women. The bride and groom did not participate in the dances. Only relatives and those invited to the wedding danced.

The friend, as the main character at the wedding, ordered the dances to the accordion player. Performing "Chizha", "Saratov", "Serbiyanochka", "Podgornaya", the dancers used fractions "in three legs", tributaries, "turns", "claps", "key." Men have squats, fractions, simple crackers, jumping.

All these dances were of a cheerful, perky nature, which created a special spectacle, festivity of the wedding ceremony.

It should be emphasized that in different regions of Siberia there are various, sometimes sharply dissimilar forms of folk choreography. So, dances characteristic of one locality, district, village may be unknown or rarely seen in other regions. For example, the dance "Scissors" is found only among the Trans-Baikal "Semeysk", and the song-dance "Saratov" is found everywhere in Siberia. The solo dance "Dove" is known only in the Irkutsk region, the square dance "Six" is performed in Siberia everywhere, up to the Urals.

Such an important component of folk art as the conditional acting out, accompanied by peculiar movements of the legs and arms, manifests itself in different ways. The "Trick" in solo male dance in the Tomsk region differs from the "trick" in the Krasnoyarsk Territory. If in the Tomsk region the "trick" of men looks like a "cock", "sideways", then in the Krasnoyarsk Territory a man first stood still, arms wide open to the sides, kicked in time with his right leg, shaking his head, and only then went into a circle.

The second group of features that determine the originality of the Siberian traditions of folk dance creativity is associated with the stylistic features of the types of dances. Each locality has its own favorite techniques of artistic expression used in dances: a kind of "trick", typical dance techniques, characteristic "knees", names of dances, their construction. The stylistic originality of the dances performed in a certain area, village, is largely manifested regardless of their genre.

Comparison of the dance movements of the “Semeiski” and Siberian peasant women from the Krasnoyarsk Territory shows, for example, that the fractional movements of the “Semeiski” are smaller, crumbly, the leg strikes the floor with the whole foot, without rising high. among the peasant women of the Krasnoyarsk Territory, heel fractions are found, with a transition to the whole foot, both in turning and in advance, the hands in the dance are more active.

The third group of features that distinguish choreographic folklore in a particular locality is determined by the characteristics of folk performance. Each region of Siberia, even a village, a district has its own special style of performance. For example, the "Six" of the Krasnoyarsk Territory differs from the "Six" of the Kemerovo Region in figures and a set of movements. Despite the fact that the last figure ("snake") is found there, in the same form, the Krasnoyarsk "Six" is more dynamic in development and is distinguished by hand-braiding in doubles rotation and a faster pace. By the nature of their performance, both are closer to the Ural "Six".

Siberian round dances are diverse in composition, but the main form of construction of most round dances is a circle. If in the central and northern regions of Russia in round dances there are such drawings as a circle in a circle or two or three circles next to each other, then in Siberia the "small circle", "crescent" or "sitting circle" are common, depending on the place where the round dances are held. Siberian round dances have other constructions, for example, "collar;" "," arrow "," column "," carousel "," pattern "," scissors ", etc. It should be noted that in Siberia the same types of compositional constructions or drawings of round dances may have different names depending on the place of existence.

Thus, there is no doubt that the preservation of Siberian dance folklore contributes to the enrichment of the general national choreographic culture.

Conclusion

Russian folk dance is one of the most widespread types of folk art. Many choreographers, choreographers, art critics studied Russian folk dance, trying to trace its entire history of development. As a result, there are currently a large number of textbooks, teaching aids and fiction about Russian folk dance.

It seems to me that in this work I managed to trace the formation of folk choreography, or rather, the development of Russian folk dance from its origins to the present. Russian folk dance has been constantly changing throughout its history, and nowadays there are numerous folklore expeditions throughout Russia to study the features of Russian folk dance.

Russian musical and dance folklore is conventionally divided into several style zones, each of which has its own geographical and climatic, living and living conditions, its own performing style, costumes, manner of performing songs, round dances, dances and even individual movements.

As a result of all this, Russian folk dance is divided into separate forms, each of which has its own characteristics. Although, of course, these are only the brightest and most basic. Since every dance performed in different areas has many differences between them.

The development of Russian folk dance is closely related to the entire history of the Russian people.

In my work, only a small part of all the elements of Russian folk dance existing in the people and choreography are described.

The deep roots of national culture can be seen, first of all, in peasant customs and institutions, due to the greater preservation of the foundations of life of the rural population over the centuries, which contributed to the conservation of some old and even ancient elements of folk art.

List of used literature

1. Bachinskaya N. "Russian round dances and round dance songs", M.-L., Muzgiz, 1958

2. Bashkovich N. History of choreography of all ages and peoples. - M., 1908.

3. Blok LD, "The emergence and development of classical dance techniques." M, 1987

4. Vasilyeva E. D. "Dance". M., 1968

5. Vasilieva - Rozhdestvenskaya M.V. "Historical and everyday dance". M, 1963

6. Weiss G. "External life of peoples from ancient times to our times." M., 1956

7.Gavlikovsky N.A. Dance Learning Guide. L., 1959

8. Goleizovsky K. "Images of Russian folk choreography", M., Art, 1964

9.Druskin M.S. "Essays on the history of dance music." L., 1936

10.Zhornitskaya M. Ya. Nordic dances. - M., 1970.

11. Zakharova O.Yu. "Russian balls and horse carousels". M., 2000

12. Zakharov R.V. "Conversations about dance". M., 1963

13. Inozemtseva G.V. "Folk dance", M., Knowledge, 1978

A.A. Klimov "Fundamentals of Russian folk dance", M., Art, 1981.

15. Koroleva E.A. Early dance forms. - Chisinau, 1977.

16. Sokolov A.A. The problem of studying dance folklore // Methods of studying folklore. - L., 1983.

17. Tereshchenko A. "Life of the Russian people", St. Petersburg, 1848

Tkachenko T. "Folk dance", M., Art, 1967

19.Ustinova T. "Russian folk dance", M., Art, 1976

Ustinova T. "Selected Russian Folk Dances", M., Art, 1996

21. Famintsyn A. "Skomorokhi in Russia", St. Petersburg, 1889

22. Fomin A.S. The concept of "dance" and its structure // Folk dance: problems of study. - SPb., 1991.

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Folk dance is a colorful, vibrant creation of the people, embodying their emotional and artistic image. Folk dance can tell and show the entire centuries-old and diverse history of the society in which it was born. Folk dance is the embodiment of people's imagination and the depth of their feelings. It is full of content, plot, dramatic basis, spatial drawings and plastic movements that are characteristic of a particular nationality. Folk dance is the brightest and most specific form of displaying reality, because norms of behavior and relationships, ethics, morality, as well as any changes in the social, economic and political spheres are manifested in it. All these aspects of each era are reflected in the artistic creation of the people.

Origins

The history of the origin of folk dance goes very deep. Ancient people copied the movements of animals, imitated natural phenomena - this is how the primitive dance was born, which evolved into a real way of communication and expression of feelings. The movements of such dances were a kind of reflection of the impression from the surrounding world. An important role in the creation of folk dance as a species was played by ritual mysteries, ceremonial, religious and ethnic rites, which were simply saturated with choreography. It should be noted that the experience, talent and imagination of more than one generation have been invested in the creation and evolution of folk dance. Dancing forms of folk choreography were honed as art by time and with each era acquired artistic value and completeness, moving towards perfection.

Folk dance cannot be confused with any other kind of dance. It is transmitted ethnically and genetically from generation to generation, regardless of faith and nationality. Therefore, it is not surprising that the soul starts dancing to the motives of the folk dance. Every nation has a dance that is characteristic only of it. It is distinguished by the style of performance, technical content, presentation, mood, music and costumes. All these traditional signs have been developed over the centuries and reflect the centuries-old history of the people.

The main feature of folk dance as a unique phenomenon is that, without a specific author, this dance is invariably passed down from generation to generation and is the most real and most recognizable visiting card of each nationality. It is worth noting that the national character of folk dance manifests itself in a variety of features, namely: in the musical and choreographic structure, colorful details, and performing style. Despite its importance, this dance is distinguished by a rather simple technique of performance and uncomplicated figures and steps. They have a more general character and are saturated with ethnicity.

Sections: Additional education

The article deals with the problems of preserving and developing the traditions of the national choreographic culture. In modern conditions, the danger of losing the richest heritage of folk art, the traditions of Russian folklore in all its genre diversity, in its historical dynamics is becoming more and more aware. In the first place comes the threat - how to preserve their identity to many national cultures, and not to dissolve in the environment of others. It is proposed to consider the possibilities of preserving and developing Russian folk choreography as an integral part of Russian culture.

Key words: dance traditions, folklore, genre, regional characteristics, form.

Dance - one of the most ancient types of folk art. It reflects the social and aesthetic ideals of the people, its history, labor activity, way of life, customs, customs, character. Each nation keeps its dance treasures, passing them on from generation to generation, accumulating and honing the harmony of their constituent means of expression.

The art of dance, skill and originality were honed and polished, because in the dance people could express pain and joy, respect and fearlessness. The dance developed along with the person. The person developed along with the dance. Being a part of ritual, customs, traditional holidays and festivities, folk dance has been and remains an organic part of these events. Dance allows you to create a kind of atmosphere, the rhythm of communication and itself acts as a language of communication. This nature of the dance, laid down even at its inception, receiving various forms, remains unchanged. The beauty of folk dance has been known for a long time. Over time, the art of dance developed, the variety of forms and styles was singled out into separate types. Such as: classical dance, historical household, pop, ballroom, modern. Among all this diversity, folk dance has been and remains one of the main types of choreographic art.

Folk dance - folklore dance, which is performed in its natural environment and has certain movements, rhythms, costumes and the like, traditional for the area.

Folk dance - this is a spontaneous manifestation of feelings, mood, emotions, is performed primarily for oneself, and then - for the viewer (society, group, society).

Nowadays, there is a problem of a fundamental nature associated with the development of folklore, Russian folk dance. Folklore is the most valuable cultural heritage of peoples, which must be mastered, loved and protected. We are concerned about the fate of Russian folk dance as a folk culture in general. Leading figures of Russian choreographic art have always realized the importance of preserving and developing Russian folk dance, in its traditions, in historical dynamics. The most important task of folklorists, choreographers, art critics working in this area is to preserve the richness of the traditions of dance culture, carefully convey dance folklore in modern conditions.

With the development of pedagogy of professional choreography, the scientific literature raises questions related to the training and education of a professional dancer who is able to preserve and develop the best traditions of the national choreographic culture of the peoples of Russia in every possible way. Identifying the possibilities of creating a purposeful system for mastering the main features of Russian dance, I emphasize that an integral part of Russian dance culture is that which carries wealth, natural properties, stylistic features associated with cultural tradition. The images of Russian choreography are a performing standard, into which one must “fit in”.

Folk stage dance at the present stage it can be defined as an artistic and educational system formed in the process of formation and development of artistic and pedagogical practice of the professional and amateur sphere of choreographic activity. More than one generation of teachers, choreographers, performers, critics, methodologists and theorists in one way or another participated in the formation of the school of folk stage dance, which is based on the division of expressive means into elements, the selection and systematization of movements, the definition of aesthetic and ethical norms, the development of conceptual apparatus, content, etc.

One of the important issues at the present stage is the training of specialists who can adequately preserve and develop folk stage choreography.

The research problem stems from the contradiction between the requirements of modern society to preserve and develop the pedagogical traditions of choreographic education. The problem of tradition in education was first skillfully posed by the great Russian teacher KD Ushinsky.

High-quality training of specialists capable of solving this problem in the long term can be achieved provided that the organization and implementation of the process of teaching folk-stage dance will be based on a number of principles.

Scientific principle;

The principle of consistency;

The principle of continuity;

Axiological principle;

The principle of activation.

Choreographic education, due to its specificity, strives to cover as fully as possible the horizons of individual development of each novice ballet dancer in accordance with the ideas of the era, in connection with which choreographic education in Russia becomes an indicative reflection of both the priority of pedagogical thought and the cultural and historical realities of each period of its formation. It can be argued that there is a special cultural and historical phenomenon - the national school of choreographic education. This phenomenon, not only closely interconnected with the culture of the nation, but also raises it to new heights, determines the existence of one of the areas of high art - classical dance, and imposes strict requirements on the pedagogical conditions of its existence, develops pedagogical science and practice. Forming the personality of a future artist - ballet, choreographer or teacher, the school as a choreographic system forms his consciousness, professional and personal qualities.

The folklore departments created at the centers of folk art, publishing monographs, methodological recommendations based on research of national choreographic creativity, are engaged in the problem of preserving the traditions of dance folklore and its organic inclusion in modern choreographic culture.

Higher educational institutions of many countries of the world are involved in solving the problem of producing scientific research literature in this area. Every day there is a new number of publications, including Ph.D. theses, devoted to the study of the origins of the dance culture of peoples, the identification of its stable forms and trends characteristic of the modern stage of development of folk choreography.

In modern socio - economic conditions, the creation of a universal reference book that has the goal not only to include the maximum number of publications containing information about the dance culture of the peoples of Russia, but also to make it convenient for a specialist, faces a number of problems, which should be said:

• information about the release of a particular publication does not follow the centralized path that was previously used;
• the widespread introduction of the native language in the territories creates difficulties in the use of this literature in other regions without translation;
• the results of technological progress affect all areas of our lives. Filming a choreographic work on videotape is the most modern form of fixing it than the descriptive - graphic method. But if this is not an educational film, then a huge layer of information is left behind the scenes.

The solution to these and other problems can be the creation of a single international database.

The problem of teaching traditional folk choreography.

Today it is an important topic of discussion not only among teachers of higher and secondary educational institutions, but also among cultural workers. This is primarily due to the need to direct society's efforts to preserve the cultural and educational environment and folk traditions, which are a necessary condition for the formation of a full-fledged spiritual life of a modern person. Solving this problem will help not only create conditions for more effective training of future specialists, but also ensure the continuity of generations, which is a factor in the formation of national self-awareness, social development of the individual and the spiritual progress of the people. But in this case, government support is needed, expressed in sound planning in the field of education. It is necessary that in educational institutions that train personnel for cultural and artistic institutions, not only are classes on the study of Russian dance, regional features of Russian costume, holidays and rituals of the Russian people fully implemented in curricula, but also a sufficient number of academic hours are allocated for the study of these disciplines ...

A competent choreographer should know well the “genetic code” of the transmission of heredity, i.e. those musical and plastic motives, rhythm formulas, compositional techniques that are, as it were, the quintessence of the national in choreography and can become a living core, the basis of a new stage dance. Of course, for the complete success of this business, it is necessary to combine the folklorist and the director in one person. But since this is not always the case in practice, the requirement “for the choreographer to know folklore well, and for the folklorist - the specifics of the scene, becomes urgent.

The next problem is the ways of stage interpretation of folklore dance. According to V.I. Ural several.

The first is the experience of recreating an authentic sample on stage. I will say right away that the authenticity of the dance on the stage, of course, is lost, but I mean only the authenticity of the source of the sample. The dance suffers these losses, even if it is performed on the stage by the villagers themselves, since the remoteness (stage, hall) and the artificial separation between the beholders and the creators destroys the nature of co-creation, changes the life process of this dance. There are losses and choreography associated with changing the point of view. The temporal laws of folklore action and scene also contradict. An attempt to attribute these contradictions leads to the need to intervene in the text of the dance. And this is the next path - stage processing of folklore. What does it include? First of all, on the basis of the laws of stage composition, the refinement of the dance drawings. So, for example, if the whole dance is performed in a closed circle slowly rotating in one direction, then under the conditions of the stage - this will be perceived as a tedious monotony and is subject to development, i.e. change. The endless (for stage conditions) repetition of figures in a quadrille (typical for performance in everyday life) is subject to change.

The modern stage demands from Russian dance novelty of stage forms, means of expression, topical themes and aesthetic orientation. But they cannot arise among choreographers without deep knowledge of the nature of Russian dance, its folklore sources. New living conditions, aesthetic norms have influenced the content of the dance and the relationship of its individual forms. Significant changes have taken place in women's dance, which previously did not have a rich and varied lexical material. Nowadays, a huge amount of movement of arms, legs, body, etc. decorates the Russian folk dance. The movements of the legs have undergone the most dramatic changes. The character of the dances became more cheerful.

Today, professional and amateur choreographers compose dance compositions based on the melodies of modern songs. The songs of our days have preserved the national melody, the originality of musical turns. It organically merges with new themes, receives a new rhythmic organization. The melodies of modern songs are widespread, they are companions of everyday and public holidays. There are immeasurably more songs created today than dances. Their quality is much higher. How can one explain that many dances, created to certain melodies, die quickly without gaining widespread acceptance. Their choreographic drawings are not utilized in the future and do not receive a lexical stock. It seems that one of the reasons is the mechanical adaptation of the dance scheme to this or that melody. In this case, the rhythmic structure of the dances coincides with the rhythm of the songs, and the once organic union of plasticity and music turns out to be one-sided. Another tendency is revealing itself. The melodies of contemporary songs are illustrated by modernized, “modernized” Russian dance. Silver boots, colorful mini-skirts, fancy headdresses, which do not meet the aesthetic requirements of Russian dance creativity, look ridiculous from the stage. Choreographers, writing modern vocabulary, often forget about the national character of the movements, violate what makes the dance beautiful, and the performers themselves - graceful and attractive. Much depends on the music of contemporary dance, on the instrumental processing of folklore material. In our opinion, currently choreographers who create their new works are dependent on this music, and it is far from always suitable for composing a choreographic work. When comparing the themes of contemporary songs and dances, one has to give preference to songs. In them thematic genre boundaries are very wide. Themes of love, meeting, separation, parting take on a new sound, a new meaning. They capture the image of a person with his feelings, experiences. The dance closed itself into a circle of limited plots, especially if we talk about the lyrics. But she, like lyric songs, most of all attracts spectators and performers. Creating original lyrical dance pieces is a more difficult task than creating tempo dance pieces, where fantasy comes to the aid of the choreographer. That is why it is necessary to turn to folk sources, to find in them the most striking national features that determine the character of a particular people, as well as the distinctive features of dances that exist in various regions, territories, regions of Russia. A. Permyakova, artistic director of the Russian folk choir. Pyatnitsky notes: “If modern choreographers working in the field of Russian folk dance do not begin, like the luminaries of the past, to thoroughly study the dance folklore of different regions of Russia, but continue to prepare a certain vinaigrette, and even“ sprinkle ”,“ salt ”it with tricks, we we'll just go nowhere. "

It should be noted that to this day there are still annoying phenomena of excessive stylization of folk dance, one might say, when only an outwardly spectacular, elegant, virtuoso-technical composition remains from it, which is called folk dance only by its external features. According to M.S. Godenko, Russian folk dances should include a modern trend - rhythms and movements. He created a certain genre of contemporary Russian dance. Many experts in the field of choreography do not share his concept, claim that they do not preserve traditional folklore this way. However, most of our choreographers try to create their dance compositions based on authentic folk dances and take great care of the stylistic interpretation of the material. The collective of the ensemble "Beryozka" does not pursue the goal of transferring folklore to the stage in its purest form. This is a real academic choreographic ensemble and, nevertheless, how captivatingly beautiful is the image of a Russian girl in all its dances. Composed by I.A. Moiseev's dance becomes a complete choreographic miniature. The directors are drawn to a wide variety of folk traditions. The feeling of authenticity and authenticity of "Moscow Region Lyrics" was achieved not only by borrowing movements from folklore. The internal laws of folk choreography were organically observed and embodied here: spontaneity, liveliness of communication between partners, simplicity and clarity of restructuring. Each movement has its own, sometimes mocking, sometimes lyrical subtext, its own intonation.

It should be remembered that a return to the past, to the traditions of the Russian people and its culture does not mean copying it, mechanical repetition, literal use. The past is rethought and included in the context of modernity, taking into account the new parameters of the cultural context, including its artistic and technological innovations. Old and new dances not only coexist side by side, but also mutually influence each other, creatively enriching and developing Russian folk dance. New time gives birth to new tastes, directions, rhythms and addictions. Whatever happens in life, each generation must know its roots and remember its native origins, otherwise spirituality and patriotism will disappear. It is important to preserve and preserve the richest heritage of Russian folk dance. Therefore, the role of choreographers-teachers is so responsible, who can preserve, preserve traditional shades in the manner of performance, evaluate them and give new life to folk choreography.

Bibliography

1. Ballet: encyclopedia / ed. Yu.N. Grigorovich. - M.: Sov. encyclopedia., 1982. - 623 p.

2. Vanslov V.V. Comprehensive personality development and types of art / V.V. Vanslov. - M .: Art, 1963.

3. Permyakova A.B. Relying on the heritage, look for something new // "Ballet", literary-critical historical-theoretical illustrated magazine. M .: Ed. zhurn. "Ballet". - 2010. -No. 3, p. 24.

4. Uralskaya V.I. The nature of the dance / V.I. Ural. - M .: Council. Russia, 1981.24 p.

The development of Russian folk dance is closely related to 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 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 over the centuries-old path of its development.

The legends that have survived to this day about pile structures on Lake Ladoga in the pre-Christian period speak of the antiquity of dancing in Russia. Girls and fellows gathered on them “danced around and played in circles” (30).

In the 5th-7th centuries, folk dance was performed in the bosom of "merrymaking". Their character was imprinted with the imprint of an ancient pagan idea. In the VIII-IX centuries, the first ancient Russian state was formed - Kievan Rus. The adoption of Christianity contributed to the development of culture: churches were erected, writing was developing. Folk art is expressed in buffoonery. Skomorokhs played a huge role in the development and popularization of Russian folk dance: stage forms of folk art were born (5).

The first official mention of the Russian folk dance dates back to 907, when Prince Oleg the Prophet celebrated his victory over the Greeks in Kiev. 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 with his retinue in the evening. He immediately noticed the strange dance and pointed to Metropolitan Nikifor at the dancing fellow. It turned out to be a bricklayer Petro Prisyadka. Within a few days, Petro danced for the Grand Duke of All Russia every breakfast, lunch and dinner. The bricklayer Petro Prisyadka worked hard, squatting with heavy stones and tools in his calloused hands. Every evening after his labor exploit, he went out to Khreshchatyk and, taking a ladle of wine and a roll, began to jump, stretching his legs that had become numb during the day. Dancing as Squat or Squat soon became fashionable in prosperous Kiev. Fat buffoons lost weight and learned to dance "Squat", breaking their crooked legs on the nasty medieval sidewalks.

The buffoons mastered the high technique of dancing, but their art, deeply popular, had its roots in pagan games and rituals. In the XII century, juggling becomes very popular, which reaches its full height in the XIII century. The juggling dance was virtuoso, with a strong admixture of acrobatic movements using the pace of elevation. The legs are inverted, 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, and leads the monkeys. Occasionally occupies a high position, sometimes "beggars". In the XIV and XV centuries, the "dances of the mummers" became very popular, which to this day are common in our holidays. (twenty)

At the end of the 15th century, the Russian people finally freed themselves from the Tatar-Mongol yoke, which contributes 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 among them appeared the first famous dance teacher in Russia, Ivan Lodygin.

Along with buffoonery, there was a folk professional and homemade theater. This theater experienced buffoonery and, like their art, it gravitated towards simple, clear methods: a sharp, sweeping gesture, loud singing, daring dance were used. Many of these types survived until the 20th century and, without merging 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. Despreo says: "Beauchamp was the first to dismember the pace." This division of dance steps into tempos is the basis of the dance recording system that arose at the end of the 17th century. Beauchamp was the first to form five reversal positions. But they are still the beginning for him. The movement and positions of the hands were also developed by Beauchamp. It was Beauchamp who systematized all the scholarly choreography, combining the French and Italian schools. Thus, by the beginning of the 18th century, Russian folk choreography was also formed.

By the 17th century, a system of stage dance began to take shape, with a division into classical and characteristic. (nine)

Character 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 widespread 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 powerful national power intensified. The Motherland's international relations expanded, its cultural ties with foreign states grew.

Russian diplomats and merchants, just free travelers, got to know the theater of the West. Ballet was of particular interest because the language of music, dance and pantomime is available to everyone. I was attracted by the splendor of ballet performances: a change of scenery, trips of all kinds of characters on decorated chariots, the luxury of costumes, etc. Such spectacles could glorify the might of the centralized Russian state. In 1673, in the village of Preobrazhenskoye near Moscow, the ballet about Orpheus and Eurydice was staged.

The 18th 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. Serious transformations have taken place 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 square dance, minuet, polonaise and others. In the first half of the 18th century, the central dance was the minuet, which came to the court of Russian performers, since he demanded to perform just those features that are inherent in a Russian woman: plasticity and her natural modesty, softness and expressiveness of dance. And only among the people Russian dance has not only survived, but is also developing, taking on new varieties. So, as a result of the influence of Western salon dances, a square dance, polka, etc. appear in Russian everyday life, which, getting into the village, radically change, acquire typically Russian local features, manner and character of performance (26),

At the same time, a serf ballet appeared in Russia, which originated in landowners' estates and reached a high artistic level by the end of the 18th century. Since there was no theater in the province yet, serf troupes objectively served educational purposes. Rich noblemen, inheriting endless lands, owning thousands of peasant souls, arranged a miniature state for themselves. In imitation of the capitals, a serf theater arose. Initially, serfs performed folk dances for their masters. One of the memoirists of the era tells how, having visited a manor house in the Pskov province, he saw such "village dances". The dancers of the serf ballet, even becoming real "dancers", carefully passed on to each other the tradition of national dance. This largely depended on their living conditions. Firstly, 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 rarely had foreign teachers and directors (34),

The Russian national theme was widely established in the serf ballet theaters of the 18th century. The nature of the performance there was more distinctive than on the court or private stages in Moscow and St. Petersburg. Most often, original dance pieces, separate numbers or interludes were included in operas based on Russian subjects.

The ballet troupe of the Counts Sheremetyevs was the most professional among the serf ballets. Her actors were trained from childhood, they were taken away from their parents and brought up in a strict regime, changing their surnames 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 figurants were Avdotya Ametistova, Matrena Zhemchugova, Anna Khrustaleva and others. Among the dancers, the first roles were played by Vasily Vorobyov, the second - Kuzma Serdolikov, Nikolai Mramorov. In the first place in this group is the name of Tatiana Shlykova - Granatova.

The ballet art of Russia from the very 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 in theater schools, for which theatrical performance was a source of livelihood. They improved their skills and expressed their style, their style of stage behavior. (8)

The future Russian dance schools were born in the depths of general educational institutions not associated with the theater. The St. Petersburg gentry corps, established in 1731, prepared Russian youths for military and government service. They were taught many subjects, including dancing. They practiced choreography 4 times a week for 4 hours. Here in 1734 J. Lande was invited to the position of dance master. (42)

In the 18th century, Russian folk dance images, folk dance were preserved on the Russian stage.

The art of Russian folk dance and its scenic expressiveness were carefully preserved by dramatic actors and singers of the opera house. Song-comic numbers were directly connected with the dances of the old folk theater. The interest of Russian society in the art of choreography increased with each new ballet performance. The need to create a school became apparent. In 1738, choreographic education began in Russia. The school is located in the former palace of Peter I; the choreographer was J. Lande. A worthy place in the school was occupied by A.A. 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 publicly available commercial theater in Russia called the Free Theater. A few years later, he moved to the treasury and began to be called the city. In 1806, the school at the Petrovsky Theater ended its existence, on its basis the Moscow Imperial Theater School was organized.

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, which swept across the country.

At the beginning of the 19th century, when the serf ballet outlived its usefulness, many of its artists found themselves on the capital's imperial stage.

Since 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. Its laws were dictated by orchestral, then symphonic music and the style of the performance. Popular movements were limited to a certain amount of pas of a particular nationality. (29)

In the 19th century and at the beginning of the 20th century, the concept of "characteristic dance" was used to denote a theatrical everyday dance in character, both salon and public. Subordinating the folk dance to a certain content, the characteristic dance selected its most significant features and, enlarging, modifying the main thing, omitted the insignificant. This selection was logical. It made it possible to convey in the dance the spirit of historical eras and the specific circumstances of the action of the given performance, the features characteristic of the entire nation, and the distinctive features of the character. Therefore, on the basis of one and the same folk dance, you can create several characteristic dances that are not very similar to each other.

The place and role of characteristic dance in ballet either expanded or narrowed, in accordance with the aesthetic requirements of a particular era. It could be the effective basis of the entire performance, could fall out of action, retaining only the rights of the insert number.

From the very beginning, there were two trends in character dance. One based on creative closeness to the folklore primary source, seeking to convey its meaning to the artistic nature; the other is decorative, stylistic. Both tendencies influenced the fate of Russian character dance in the continuation of its entire pre-revolutionary history, unmistakably giving out the general state of the ballet repertoire of one time or another.

In the second half of the 19th century, the characteristic dance in the ballet performance was in the background. At its core, it had a folk national dance, which underwent 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 the national dances, they softened, rounded, acquired greater smoothness. The absolute eversion of the legs of classical dancers was replaced here by the relative eversion. The toes of the legs were extended as in a classical dance, the arms were opened and raised in the positions of the classical dance. The dances of the most dissimilar nationalities were based on the same movements 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

the choreographers brought the stylization to borrowing the jumping technique of classical dance, keeping the specificity in the formulation of the arms and body.

At the end of the 19th century, the characteristic dance exercice was created. It was based on the exercice of classical dance. This made it possible to widely use the laws of choreographic thematicism when staging a character dance. In general, the 19th century was characterized by serious changes for the Russian state. Capitalism developed in the country, and with it a 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)

During the twentieth century, folk dance has gone from folk dance to a stylized folk 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 twentieth century is the principle of its professionalization. Raising the performance skills of folk dances to a higher level, this process also contributed to the fact that the bearer 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.