Ukrainian Dance: A Cross-Cultural ApproachUkrainian dance is remarkably enduring in its popularity and still performed in numerous cultural contexts. This text unpacks the complex world of this ethnic dance, with special attention to the differences between vival dance (which requires being fully engaged in the present moment) and reflective dance (dance connected explicitly to the past). Most Ukrainian vival dances have been performed by peasants in traditional village settings, for recreational and ritual purposes. Reflective Ukrainian dances are performed more self-consciously as part of a living heritage. Further sub-groups are examined, including national dances, recreational/educational dances, and spectacular dances on stage. |
Contents
| 1 | |
| 5 | |
2 Purposes for Dancing | 14 |
3 Ethnic Dance | 24 |
4 Peasants Dancing | 40 |
5 Geographic Zones | 53 |
6 Historical Zones | 67 |
7 Improvisation | 73 |
12 Recreational and Educational Dance | 124 |
13 Spectacular Dance | 143 |
14 Ballet and the Proscenium | 157 |
15 Theatricalizing a Dance | 168 |
16 Three Principles of Staging | 192 |
17 Moiseyev and Virsky | 202 |
18 First Versus Third Principles of Staging | 213 |
19 Expanding Perspectives | 224 |
8 Vival and Reflective Communities | 83 |
9 National Dance Traditions | 90 |
10 Typical Characteristics of National Dance | 101 |
11 Variations in the National Paradigm | 111 |
Notes | 233 |
| 245 | |
| 259 | |
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Common terms and phrases
aesthetic artistic audience Avramenko ballet bride Chapter choreographer concept connected contemporary context contrast costumes cross-cultural dance activity dance communities Dance Ensemble dance events dance forms dance groups dance movements dance performed dancers described developed educational dance elements elite ethnic dance Europe example focus folk-staged dance folklore Giurchescu groom Harasymchuk Hopak Hutsul identity improvisation imputed setting international folk dance involved kolomyika Moiseyev Morris dance motifs musicians Nahachewsky national dance traditions participants participatory Pavlo Virsky peasant dance perhaps perspective political popular principle of staging principle stagings recreational dance reflective dance region ritual Romantic nationalism Ruski Krstur Russian Rusyn Sheremetyevskaya social dance Socialist Realism Soviet Union specific spectacular dance traditions spectators staged dance step style symbols teachers theater theatrical third principle Tinikling Toporivtsi traditional dance twentieth century typically Ukraine Ukrainian Canadian Ukrainian dance Ukrainian national Verkhovynets village Virsky Virsky’s vival dance wedding Western culture