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Section 6. Choreography
DOI: http://dx.doi.org/10.20534/EJA-17-1-76-79
Kvetsko Olga Yaroslavivna, a graduate of Kyiv National Academy of Culture and Arts, teacher Kalush College of Culture and Arts (Ivano -Frankivsk region, Ukraine) E-mail: olga.kalush@mail.ru
Retrospective anаlysis dance Bojko in the Carpathian region in the context of Ukrainian choreographic culture
Abstract: In the article the characteristics Boyko dance in the context of Ukrainian folk stage dance. The main trends of Boyko dance as part of the study of Ukrainian dance in general and peculiarities of choreographic traditions Boyko. Outlined role in shaping the folk dance choreography Boyko culture in Ivano-Frankivsk region. The analysis of the scientific coverage Boyko dance. Determined stylistic features choreographic culture Boyko. The actual problem is the synthesis of art experiences enrich Ukrainian culture choreographic achievements Boyko national dance in the Carpathian region late XX — early XXI century and on this basis to develop new approaches to the development of dance in general.
Keywords: boiko, choreographic culture, Ukrainian dance, Boiko's dance, folk dance, ethnic groups, Carpathians.
The formation and development of choreographic culture Boyko in Ivano — Frankivsk region — a promising direction modern art history research. Analysis of historical and ethnographic research Boikivshchyna as a whole is extremely important for the study of the general laws of domestic and world culture-process. However choreographic culture Carpathians Boyko second half of XX — beginning of XXI century in modern scientific works are not covered. So important is the need to define methodological bases of formation and development of folk dance Boyko Ivano-Frankivsk region, features its stage of processing.
Analysis of the literature on the research showed that the study engaged Boyko dance choreographers — practices that were collected folklore material and performed interesting dance performances, so research Boyko dance is not illuminated. The paper uses comparative analysis and synthesis provisions professional works of Ukrainian scientists in
the fields of history, culture, ethnography, philosophy, art related to the theme of this thesis. Methodologically significant was the work of Roman Ha-rasymchuk where ethnographer collected folklore material which made it possible to generalize the development Boyko dance.
Fundamental research is based on a synthesis of the general provisions of ethnographic research Boyko in the Carpathian region. Ethnographical research and the study of folklore Boikivshchyna engaged in Ukrainian and foreign scientists I. Va-hylevych, V. Bahrynets, A. Sryzhak, R. Slivka, O. Galko.
Problem is clarifying becoming choreographic culture and trends Boyko folk dance Ivano-Frankivsk region and identify stylistic features choreographic culture Boyko Carpathians.
In the second half of the twentieth century Ukrainian choreographic culture appears as a separate discipline and the subject of study of various
sciences — history, philosophy, folklore, art, education and others. Today, various theoretical concepts of choreographic research culture in general based on a thorough study of folk dances, which are reflected in the performances of professional and amateur teams.
Choreography Ukraine passed a certain evolution. «From ancient times dance reflect the life, activity, feeling person. Researchers primitive culture has repeatedly stressed that the dance was inseparable from the song» [3, P. 11]. First Source dance was playing different work processes, beliefs in phenomena of nature and observe the world around them that changing under the influence ofhistorical, social and economic factors. Every region of Ukraine has its own customs and rituals, traditions, preserved its national originality displayed in songs, music and dance. A special place in the development of Ukrainian choreographic culture takes Boykivshchyna.
Boykivshchyna — ethnographic area that occupies the central mastered most of the Carpathian Mountains (Beskid, Gorgan, Carpathians). In the Ivano-Frankivsk region Boykivshchyna covers Dolina, Kalush, Rozhnyativ and Bogorodchany of areas that today a preserved traditions, customs, rituals, whose residents in a certain historical period involved in the decisive events of the Ukrainian state. Originality and originality population Boyko edge manifested in philosophical ideas and beliefs, rituals and material and spiritual culture.
According to A. Bagan [1]. The basis for genotype striker became the ancient Aryan tribes — the «legendary Carpi,» which was a historic day slavs. Later, under the auspices of the White Croats, there was « state « Great Croatia, the boundaries ofwhich coincided with the separation Boyko. Therefore, historians widely believed that the Carpathians in the Middle Ages were inhabited by white Croats. Origin Boyko tried to explore I. Vahylevych, A. Strizhak, Bahrynets V., R. Slivka.
In IX — XI century the territory of present Boi-kivshchyna was part of Kievan Rus, and in 1199 — to Galicia — Volyn principality. In the 40 years of the XIV century the land seized by Polish nobles. After the first partition of Poland in 1772, resulting in the seizure of Galicia Austria Boikivshchy-
na area was in the Austrian Empire. In November 1918, after the collapse of Austria-Hungary joined the ZUNR, which lasted five months. From 1919 to 1939 Boykivshchyna invaded Poland. Since 1939, the area within Ukraine.
Search activity allows more historians delve into the past, the study compared the facts, but they all converge into a single view that Jaunty emigrated in Western Ukraine, where new customs and rituals.
For the first time research Boyko studied dance R. Harasymchuk in 1939. It was a book, which is written based on field studies and in the postwar years has been supplemented and has been praised PP Virskyi. Also, this work was one of the best achievements of European horeolohiyi, but it was based on records of Hutsul, Boyko and Lemko dances in individual schemes and short historical analysis. Roman Harasymchuk «one of the first in Ukrainian Ethnography drew attention to academic performance mapping techniques to study ethnology and classification of musical material» [4, P. 9].
Dancing Boyko have much in common with eastern neighbors — Hutsul, but Jaunty perform their dances quieter, more smoothly and freely, on a slightly bent at the knees feet. Roman Gerasymchuk believes that the main features of Ukrainian Boyko dances enriched with specific features inherent to Boyko choreography. In his book «Folk dances Ukrainian Carpathians. Bojko and Lemko dancing, «he writes,» Boiko dances performed easily, smoothly with little bending your knees». According to Roman Herasymchuk basic features Boyko Ukrainian dances enriched with specific features, «Bojko dances performed easily, smoothly with little bending knees» [5, P. 63]. According to Boyko construction dances he divides them into: Boiko kolo-myiky dancing Cossack dance Boiko, Boiko kolomi-yka-Cossack dance, dancing Boiko other structures. Analyzing R. Harasymchuk work, you can make the following list of basic folk dances recorded in the Ivano-Frankivsk region, «Vyvyvanets», «The Shepherd», «Chetvertak» (Vyshkiv, Dolinsky region); «Zhurylo» (Nadvirna), «Boykivchanka» (Ivano-Frankivsk).
According to geographical location Boyko living in the Transcarpathian region, it is possible to
determine the nature and manner of performance dance similar to the Slovaks. Great value in a dance becomes especially prytupy. Great value in dancing takes effect Boyko Hungarian dance culture from which it took overJaunty music syncopated rhythm. Very similar to the Hungarian Boiko women jumping, twisting body and cross steps. In the manner of Hungarians Jaunty often dancing with raised up one or two hands. The structure of some Boyko dances are modified elements of Polish folk dances. From Slovaks took over and made his feature dance style perform some movements in the squat.
Besides adopt from other cultures dance movements, among the most common dances Boyko are «tropitka», «prysyadka-Hayduk», «vyhylyasy», horseshoes and other movements. Among Boyko folklore dances in the Carpathian region is like «Cu-cumis Metuliferus» wedding dance «Big Dance», « Chetvertak.» An important role in the composition of dance techniques repeat play, drawing figures. Advantageously each start dancing men is «dancing.»
The most common dance Boyko Dolinsky, Rozh-niativ and Kalush district is polka. No fun, weddings, evenings can not do without the polka. Polka is performed on a shallow squat, sometimes couples do alternate housing tilts to the right and left. To dilute the ordinary polka, dancers pass to Swivel steps (perestupannya) in pairs to squat, which may end «prytupom». Prytup takes only a man. It shows his agility and attracts attention.
The play of Ivan Franko «The Stolen Happiness», was based on events that took place in Boikivshchy-na. When production of the play choreographers use Hutsul choreography, and would reflect Boikivskyi flavor. At the core of the play is the popular «Song of Shandar.» It has three options. One of them recorded Mykhailyna friend Frank Roshkevych 1878 by a peasant in the village of Sebaste Chyhur Lolyn Dolinsky district (today district). This song, which differed tragic conflict resolution, vivid characters individualization, which was clearly expressed desire for freedom just peasants, and became the basis of the plot
dramatic work of Franco. Extensive saturation plays Ukrainian folklore is one of the most important artistic means playwright, author created so realistic folk drama. Many filmmakers turn to choreographers when putting this play. Most performances show Hutsul dances, but really should show Boiko elements of dance. The village Lolyn Dolinsky district home to many old-timers who could share interesting facts even from the Life of Ivan Franko.
Choreographers Carpathians in their work often turn to treatment folk dances. Interesting Boiko choreographic compositions appear on the stages of Ivano-Frankivsk region, among them: "Dolinsky dribonkyy", "Bojko fun", "Vyshkivs'kyi cheerful", "Boykivchanka", "Boyky wedding", "Boykovsky twisted", "Lyubaska." "The processes of birth and formation of a dance held differently, but basically it has always been dialectical interaction between collective and individual creativity as movements, shapes, invented one or several choreographers or dancers evolved, enriched the imagination of many" [2, P. 297].
Thus, the nature and manner of performance dance Boyko is one of the interesting elements of study Ukrainian dance in general. Problem research Boyko dance remains less explored. Before each choreographer — director raises the problem of implementation choreographic performances that would interest a modern audience, but kept the authenticity of their native land. So folk material in Western Ukraine — is an inexhaustible source for new theatrical dance tracks based on the principles of treatment of folk dances. Many dance groups today in his repertoire using elements of different types of choreography. Every year appear new choreographic compositions that are interesting for its authenticity, bright costumes and music. The successful combination of folk paraphernalia, interesting stories dances, music and costumes complement the material composition of dance artists, which makes them unique and distinguishes Bojko choreographic culture Carpathian all others.
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