Modernity and Folk Choreography (On the Example of Georgian Folk Choreography)

Abstract

Ethnic choreography is otherwise called folk dance. However, the main meaning of the term “choreography”, the semantics of folk choreography is largely related to the stage (secondary) folk dance. In the context of modernity, folk dance can only be discussed though diff erentiating authentic and stage
folklore.

Folklore, as the best way of revealing creative abilities of people, has not only an artistic value, which is the object of art research, but it is also a socio-cultural phenomenon that reflects historical development of ethnos. Taking into consideration the historical and religious situation, samples of folk dance including traditional-authentic ones, undergo functional and
structural changes. Consequently, modern folk dance differs from archaic forms and has a different, special nature.

The path from archaic forms of folk dance to its modern interpretation is refl ected in the genesis of choreographic art. Ethnochoreology studies the processes of development of folk dance, its ethnic characteristics and infl uence on other types of
dance (historical, ballroom, classical and contemporary dance).

In relation to folk dance traditions revealing of modern trends has several directions:

• Recentness of authentic, primary folk dance. Nowadays, there is a continuous tradition of performing dance elements in folk rites;

• Development of stage folk choreography from the beginning to this day. Modern choreographic trends, modern traditions of musical and artistic design of dance and their reflection in stage folk choreography;

• Use of folk dance elements, plastic-graphic forms in other types of dance.

Georgian folk choreography is the best example in all three directions. As one of the indicators of ethnic identity, Georgian choreography, on the one hand, preserves archaic forms (dance rituals of Svaneti, Pshavi, Tusheti, etc.), on the other hand, Georgian authentic dances are transformed into modern art
as stage-folk (“Zekary“, “Juta”, “Tsdo”, “Otobaya”, etc.) and classical choreographic samples (“Mzechabuky“, “Gorda”, “Medea”, “Sagalobeli”, „Dovin Doven Dovli” etc.).