A. T. Moldakhmetova, G.T. Zhumaseitova, L.V. Kim, G.Y. Saitova, R. V. Kenzikeev
T. K. Zhurgenov Kazakh National Art Academy, the Republic of Kazakhstan. Email: alimusha_88@mail.ru
Volume 10, Number 3, 2018 I Full Text PDF
DOI: 10.21659/rupkatha.v10n3.05
Received May 15, 2018; Revised May 25, 2018: Accepted May 29, 2018; Published September 27, 2018.
Abstract
The interaction of traditional and innovative aspects in choreographic art leads to the emergence of a different palette of interpretations and stylizations of folk dance, and most frequently, in order to determine the most important aspects, there is a need to resort to its origins, management of the knowledge of traditional material, its early stages of formation. In this article, the authors investigated the origination of Kazakh dance from the shamanic dance. They revealed the influence of the dance element of shamanistic mysteries based on the comparison of examples of historical figurative artifacts and modernity. Using the method of paleochoreographic analysis of the images of shamanic dance, they revealed and presented the semantic load of the choreographic lexis of Kazakh dance, indicated the influence of religious viewpoint of Tengrism, and determined the types of imitative and ecstatic dance of the shaman. The article indicates the role of the knowledge of key bases of formation of national dance for future choreographers.
Keywords: Kazakh dance, baksy, specific position, visual artifacts, paleochoreography, tradition, innovation, shamanistic ritual.
