Abstract:

The article analyzes and characterizes the use of folk dance vocabulary in a choreographic performance with historical dynamics in the context of national culture. Attention is drawn to the problem of the importance of scientific development and study of the origins of folk dance, the issue of preserving its origins, its crucial dynamics. The author emphasizes the relevance and importance of this task of our time.

The author argues that today new and past choreography not only combine but also influence each other, thereby enriching and shaping folk dance in a new way. The author characterizes different types of dance vocabulary and classifies them. It is noted that folk dance develops not according to the laws of logic, but due to the strong influence of fashion elements. It is concluded that dance is a reflection of objective reality.

The concept of imagery in dance, its components: vocabulary, gestures, facial expressions, pantomime, compositional drawing, etc. is characterized. It is noted that the use of gestures in choreographic compositions helps the choreographer to reveal in more detail the appearance and character of the characters, their relationships with partners, and states of mind.

The issue of mastering and developing a dance vocabulary is raised, with the help of which an individual not only recognizes beauty, but also does a lot of work to make this elegance come closer to him or her and become close and accessible. An individual who sees beauty in the process of creation feels it through and through in all its manifestations, both in art and in life. The author focuses on the importance of mastering folk dance vocabulary in the process of training future choreographers.

Keywords: culture, ethnic group, folk dance, vocabulary, choreographic composition, compositional drawing, artistic image, choreographic art.

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