UDC 7.067.3.
DOI: https://doi.org/10.59694/ped_sciences.2025.14.146
TRENDS IN THE FORMATION OF EUROPEAN DOMESTIC DANCE CULTURE IN THE SIXTEENTH CENTURY
UDC 7.067.3.
DOI: https://doi.org/10.59694/ped_sciences.2025.14.146
TRENDS IN THE FORMATION OF EUROPEAN DOMESTIC DANCE CULTURE IN THE SIXTEENTH CENTURY
TRIGUB Stanislav Viktorovych
Associate
Professor, Associate Professor of the Department of
Artistic Disciplines of the Municipal Institution of
Higher Education «Academy of Culture and Arts» of
the Transcarpathian Regional Council, Honored
Worker of Public Education of Ukraine.
ORCID іD: https://orcid.org/0009-0002-7137-3755
SHEVTSOVA Iryna Mykolayivna
Honored
Worker of Culture of Ukraine, Associate Professor of
the department of artistic disciplines Communal
institution of higher education «Academy of Culture
and Arts» of the Transcarpathian Regional Council.
ORCID іD: https://orcid.org/0000-0002-0956-3593
GLUSHKO Victoria Ivanivna
second-year
student of the first (bachelor’s) level of higher
education at the Department of Art Disciplines, the
Municipal Higher Education Institution «Academy of
Culture and Arts» of the Transcarpathian Regional
Council.
ORCID іD: https://orcid.org/0009-0002-7137-3755
Abstract:
The 16th century was a period of significant changes in European culture, marked by the humanistic ideas of the Renaissance, the flowering of the arts, and the formation of new sociocultural practices. At this time, dance took an important place in public life, becoming not only entertainment, but also an expression of the aesthetic, ethical, and social values of the era. Domestic dances became an integral part of both court life and the everyday life of different strata of society.
The development of dance culture in the 16th century was due to a number of factors: the growth of cities, the formation of the bourgeoisie, changing ideas about art and beauty, as well as the influence of scientific and technical achievements. An important role in the formation and popularization of dance practices was played by the treatises of Italian-Spanish masters, such as Fabrizio Caroso and Cesare Negri. Their works laid the foundations for the development of dance as a systematized discipline and ensured its preservation as part of the cultural heritage.
The 16th century became the period of the Renaissance, when there was a rejection of medieval views of the world and the revival of ancient ideas began. This cultural movement contributed to the development of choreographic arts. Humanistic ideas emphasized the importance of the human personality and emotions, which was reflected in dance forms.
The interaction of professional and everyday dance culture revealed trends in the creation of everyday dance forms and their adaptation to the social needs and aesthetic demands of different segments of the population.
The prospects of iconographic and textual analysis of the study of illustrations, descriptions of dances in treatises, literary sources and other documents of the era will provide new opportunities for a deeper understanding of the style, form and technique and transformations of everyday dance culture in transitional periods, in particular in the late 16th – early 17th centuries, to trace the dynamics of development. Studying the possibilities of reconstructing everyday dances of the 16th century based on historical sources to popularize this cultural heritage in modern art. Study of the roles of women and men in domestic dances, the symbolism of gestures and movements, and the social norms that influenced dance behavior.
Keywords: choreographic art, European culture, everyday dance culture, pavana, galleys.
References:
Zakharchuk, N. V. (2016). Istoryko-pobutovyy tanetsʹ: vid antychnosti do suchasnosti. Metodychni rekomendatsiyi dlya studentiv spetsialʹnosti «Khoreohrafiya». [Historical and everyday dance: from antiquity to modernity. Methodological recommendations for students of the specialty «Choreography»]. Lutsk.
Tuano, Arbo. (2014). Orkezohrafiia. Traktat pro mystetstvo tantsiu Frantsii XVI st. Planeta muzyky. [Orchesography. Treatise on the art of dance of France of the 16th century. Planet of music].
Sharykov, D. I. (2018). Neoklasytsyzm u khoreohrafichnii kulturi: heneza i kontseptsiia baletnoho teatru. [Neoclassicism in choreographic culture: genesis and concept of ballet theater]. Vinnytsia.
Caroso, Fabritio. (1967). Il Ballarino. Venice: Ziletti, 1581. [Il Ballarino. Venice: Ziletti, 1581]. New York.
Castiglione, V. II cortegiano, Firenze, 1894. [II cortegiano, Firenze, 1894]. Lyon.
Negri, Cesare. (1969). La Gratie dʺAmore. Milan: Ponti & Piccaglia, 1602. Nuove Inventioni di balli. Milan: Bordone, 1604. Faksymile vydannya 1602 New York. Braty Broude. [La Gratie dAmore. Milan: Ponti & Piccaglia, 1602. Nuove Inventioni di balli. Milan: Bordone, 1604. Faksymile vydannia 1602]. New York.
Negri, Cesare. (1969). «Le Gratie dʺAmour», Milan, 1602. [«Le Gratie dAmour» Mylan, 1602 (faksymyle)]. Niu York.