Vatutinky secondary school
with profound studying of separate subjects
by D. V. Rjabinkin
The theme of the project: «The relation of youth to
cultural values (language of dance)»
The project was done by:
Sarycheva Anastasia,
Soloduha Nikolay,
Kudryashova Victoria,
Kozhushina Valeria,
Zajarnaja Tatyana,
Bagaeva Anastasia.
(Pupils of the 8th form)
The project manager:
Romanenkova
Serafima Borisovna
2010 - 2011
The plan
I Introduction
II World of dance:
1. Dance:
- 1 – Definition of dance.
- 2 – History of dance.
2. From West to East:
2.1 – England:
a) The Irish dance.
b) The Scottish dance.
2.2 – Japan:
a) Eastern philosophy of dance.
b) Imperial dance «Bugaku»
c) Theatre «No».
d) Theatre of Kabuki.
e) Female images in dance.
2.3 – Russia:
a) Variety of dance.
b) The first mention of dance.
c) Traditional tricks.
d) Further development of dancing culture.
III Researches
IV Conclusion
4.1 – The list of literature.
I Introduction
«All illnesses of mankind,
All tragical misfortunes filling historical books,
All political mistakes,
All failures of great leaders have arisen only from inability to dance.»
(Jean Batist Moliere)
Urgency. Each time, being in the centre of our Native land – Moscow in Teatralnaya street, we
admire the grandiose structure with pleasure– the Bolshoi theatre. His arches give the chance to
remember that Russian ballet shows an unfading international recognition of Russia. Pride that
our country is the native land of this fine and charming direction of the ballet recognised and
respected in all other countries: beginning from the centre of modern dancing art, for example,
Paris, New York, and finishing such countries with traditional foundations and dance rules as
England and Hungary, covers us, and as it seems to us, each person who is passing by the
Bolshoi theatre.
But why we enjoy this is mysterious-fine action, ballet so seldom? It is not necessary to go far
for example: the majority of our schoolmates and contemporaries in general visit dance
representations extremely seldom. Certainly, they prefer concerts of fashionable groups and a
disco, but what then to do with culture of dance, and with culture in general?
It is known, only intelligent parents can have cultural children appreciating art. The reason is
very simple: only those parents who care not only to provide comfortable existence to their
offsprings, but also show art to children: go to theatres, operas and ballets, to museums and
galleries, can be called as real instructors and teachers both at household, and spiritual life.
Also it is invaluable the contribution to education and cultural education of youth of those
teachers who provide guidance on fine, conduct dialogues about art, history and about traditions
of the country.
We consider that only people who received the love to fine in childhood, who received
qualitative and all-round education, can become a real support and the future of Russia.
There are various possibilities for self-education and cultural education before each child. For
example: art, dancing, theatrical or music schools. The problem of any parent is to help the child
to choose and develop creative abilities, to grow spiritually and culturally, in the best traditions
of an intelligent family. In only case when the future generation will be capable to find ways of
the decision of existing problems, and one of them will be eradicated by itself. Because the
general ignorance of the population does not promote the progress and the growth of the country,
because, it is told, - study is light, absence of study is darkness.
And now it is necessary to remember that we are the future of our country, because the data of
polls don’t please at all and show that level of present cultural education leaves much to be
desired.
Our project work is directed on studying of the relation of contemporaries to a problem of falling
of interest to dance and accentuation of attention to the world importance to dance art, as
language of understanding among people of different nations.
But if we talk about dances, why it is done in English? We consider that the certain kind or a
dance direction cannot exist in itself at all: culture and traditions of different cultures co-operate,
enriching and improving each other. For this reason, we have chosen worldwide international
language – English.
Problem: Falling of youth’s interest to cultural values.
Novelty of work: The project designates the problem before pupils for the first time.
Project introduction: Considering the results of research, class hours have been spent in the
average and the senior link on a theme «The relation of youth to culture».
II World of dance
Open yourself for bright paints!
Learn all sweet of life!
Feel a charm of ardent passion!
Your dance of life waits for you!
Dance definition
Dance — an art form in which the artistic image is created by means of rhythmical plastic
movements and change of expressive positions of a human body. Dance is inseparably linked
with the music which emotionally-shaped maintenance finds the embodiment in its movements,
figures, and composition. Various definitions of concept "dance" are unanimous only that dance
is rhythmic human movement. Dance existed and exists in cultural traditions of all human
societies. For long history of mankind it constantly changed, reflecting cultural development.
There is a huge set of kinds, styles and dance forms.
Dance history
Probably, the history of dance is not shorter than mankind history. We need to guess only as
dances looked during early epoch. Natya Shastra is the early manuscript describing dance.
Modern interpretation of classical Indian dance Bharathanatyam is based on it. In the European
culture one of the first mentions of dance was done by the Homere in "Illiada" - he described
chorea (greek: A round dance, dancing). Historically dance was used by people as a part of
religious rituals and public holidays. Proofs of these facts are found out in many documents of a
prehistoric epoch. Possibly, court dances existed as long as kings and queens. The variety of
dancing forms included national, social, ball, religious, experimental and other forms. The
Theatrical Dance which has arisen in the Western world was a large branch of this art. Roots of
modern ballet, dance which is known, appeared to France in the sixteenth century – in
Renaissance epoch.
As we have limited time we cannot introduce a large quantity of existing national dances,
therefore we will stop only on some of them.
2.1. England. The Irish dance.
The most widespread dances in England are the Scottish and Irish dances. The first data on the
Irish dances are dated XI century From now there is first data about dancing parties of the Irish
peasants which are called feis, however the description of dances has appeared in the middle of
XVI century for the first time and was not clear. The described Irish dances included group
dances which were divided into "long" dances (dancers carried out movements, standing long
ranks, the friend opposite to the friend), "round" dances (executed figures, standing in steams on
a circle), and also dances with swords. Not absolutely clearly, what of the dances described at
that time, were actually Irish and what have obviously appeared in Ireland under the influence of
the French and Scottish dances.
England. The Scottish dance.
The Scottish dances — the collective name of the dances connected with the Scottish culture.
The most known kinds of the Scottish dances: the Scottish ballroom dances (Scottish country
dancing) have definitively developed in the end of XIX, the beginning of XX century, but they
also have more ancient history. They are usually danced in "sets" (groups) of 3-4 pairs, the basic
attention is given to moving of pairs from each other. The basic rates of music: reel, an Irish jig
(jig) and strathspey. Céilidh — the simple dances executed on national parties. Highland — solo
dances, that were arosed by men and nowadays they are become universal. The basic attention is
given to work of feet, often this kind of dances compare to ballet. Ladies’ Step — solo female
dances. Cape Breton Step — Scottish step, executed both men, and women as solo dances on
holidays and parties. Kejp Breton step has a direct bearing on island Kejp Breton in a gulf of St.
Lavrentij which (Nova Scotia) is a part of a province of Canada. The numerous Scots speaking in
Gaelic language, have emigrated on Kejp Breton in XVIII-XIX centuries, escaping from
reprisals and economic difficulties. Together with themselves they have carried away also
culture Scottish step. In Scotland where traditions of the population of a hilly terrain of Scotland
(highland) were choked successfully by English authorities for many years, step dance has been
almost lost. In XX-XXI centuries Scottish step began to come back to Scotland.
2.2. Japan. East philosophy of dance.
To estimate and understand art of dance of Japan, it is necessary to learn at least bases of east
philosophy as a whole. East philosophy has arisen practically simultaneously with philosophy of
the Ancient Greece and represents a large and original layer of world philosophy. Most often
east philosophy has the following distinctive (from the western philosophy) lines: religiousness,
spiritualism, intuitionalism, introversion (reference to private world of the person), pessimism,
unity of the subject and object and others.
Japan. Imperial dance «Bugaku»
Till the end of the Second World War the popularity of Japanese court dances was limited to
walls of an imperial palace. Dance bugaku in which the Indian, Chinese and Korean influences
were appreciable, was the favourite form of court amusements. Majestic and courageous, this
dance was the generalised image of a result of any history. Movements of feet in it are presented
plentifully, as in one other Japanese dance. Kagura preceded to this style - the form borrowed
from China and gigaku - dance in the masks, become by a part of Buddhist ritual. Sarugaku has
became the first national Japanese dance, originating in ancient Shintoistic and Buddhist
festivals. Dance bugaku had became an integral part of Japanese theatre “no” by the 15 century.
Japan. Theatre “Νο”.
“No” - the kind of representation based on the whole system of conventions and symbols. It has
the refined form, the finished show made under the form. The basic collision of the play is
shown in dialogues and singing, dance is used as the higher form of expression of a drama. Oneact comedy “kegen” is also played for a discharge in traditional representation of theatre "no".
During the same epoch there was rural by origin, more mobile dance dengaku - dancers in
amusing suits with the drums hanging on a neck, moving under sounds of flutes and castanets.
Dengaku is a popular dance for entertainment while the theatre “no” remained the esoteric form
of art for the educated society. There was no public dancing drama in Japan until 17 century.
This blank has been filled by kabuki - a demotic variant of “no”.
Japan. Theatre of Kabuki.
Departing from strict rules “no”, the theatre of kabuki differs by more freedom and dynamism in statement principles, in game of actors and in dances. Unlike an innuendo peculiar “no”,
kabuki is full of any exaggerations. Instead of strict wooden masks "no" the freakish make-up is
used here. However the actor of kabuki applies technics “no” that is shown in refinement and
sharp expressiveness of his poses, especially when the actor stiffens in these poses during the
culmination moments of a drama. Woman's roles in kabuki, as well as in “no”, are executed by
men. The stylised embodiment of female images has been reached by them as result of both
careful studying of theatrical tradition and deep penetration into female psychology.
Japan. Female images in dance.
If in theatrical representations “no” and kabuki all actors - men women-dancers - geishas - act
for entertainment gathered on feasts and meetings. They have been trained since the childhood in
receptions of the national dance usually connected with theatre of kabuki, and do without
scenery and special suits.
2.3. Russia. Variety of dance. Many-sided nature of Execution.
One of the main requirements of Russian people to dancing art – expressiveness of execution
which was made only when each movement in dancing was clear and reached spectators.
Thus, the most important was the realistic form of it’s reflexion, individuality and
expressiveness of execution, and also the high technics of dancing. The variety of Russian
national dancing art is great. Round dances, quadrilles, redancing, game and other national
dances amaze with variety and richness of movements. People open the character, transfer
thoughts, moods, experiences in dance.
Russia. The first mention of dance.
The first official mention of Russian national dance concerns to 907 year when prince Prophetic
Oleg celebrated the victory over Greeks in Kiev. At a state reception for visitors 16 dancers who
were in costumes of bears and four bears dressed as dancers acted. After the dinner ending
according to command of the prince it was ordered to release bears wherever they wish, and to
execute dancers. As it was found out later, weak-sighted Prince Oleg has accepted dancers for
ambassadors of the Northerners who have run into debt to him of some hundreds of skins of a
marten.
Russia. Traditional tricks.
In the west it is considered that strange jumps and grimaces of traditional Russian dance are a
consequence of a frigid climate of northern country. It is said, that "Prisjadka", "Arabian",
"Goat", "Raznozhka", "Lines", "Pistol", "Ring", "Keg", "Shchuchka", "Bedouin", and other
tricks have been thought up by Russian to be warmed. Really, the majority of traditional Russian
holidays were celebrated in autumn and in winter when works in the field came to an end. Fun
began with a prayer, then plentiful binge and snack, songs and dancings, and it was finished with
a fight "a wall on a wall". This procedure repeated after a smoke break.
Experts assert that at cold temperature of air extreme dances were an optimum variant of
continuation of fun in the street - at that time it was not accepted to celebrate holiday at a table
near the TV.
Russia. The further development of culture of dance.
Since Ivan the Terrible, the tsar known for the nasty character and love to art, it became accepted
to hold at court of clowns, singers, guslars and dancers. Court actors were considered as a
domestics on a level with cooks and grooms. In 1731 in Petersburg there was openly exclusive
educational institution of noble family – Overland gentry which became a cradle of Russian
ballet. Russian school in ballet is an absolutely original phenomenon as French and Italian, and
the moment of enrichment of national cultures should not be equated to blind loan and imitation.
After the civil war Councils have allocated means for the organisation of national dance
ensemble. In 1937 a professional ensemble of national dance first appeared in Russia under
control of Igor Moiseyev - the best in the world academic ensemble executing national dances.
Moiseyev has enclosed the basement of classical dance on improvisation and daring of folklore.
III Researches
Sociological researches concerning the relation of youth to cultural values have been done. It
reflects the problem of decrease of pupils’ interest to culture.
These results and schedules have been made according to the analysis and ordering of the data
received on the basis of various books on a theme of dance and opinions of pupils.
The schedule № 1: «Quantity of the pupils knowing history of dance (8-11 classes)».
55%
54%
53%
52%
51%
50%
49%
48%
47%
46%
10-11 forms (67 pupils) 55%
8-9 forms (90 pupils) 49%
From the given schedule it is possible to make a conclusion that 55 % of pupils of the senior
classes and 49 % of pupils of 8-9 classes know dance history.
Schedules № 2 and 3: «The Quantity of the pupils, wishing to be engaged in dances».
10-11 forms
60%
50%
40%
30%
20%
10%
0%
Want to be engaged in
dances 15%
Do not want to be
engaged in dances 58%
Engaged in dances 17%
The given schedule shows that 15 % of pupils of the senior classes want to be engaged in
dances and 17 % are engaged. 58 % do not want to be engaged.
8-9 forms
70%
60%
50%
40%
30%
20%
10%
0%
Want to be engaged in
dances 29%
Do not want to be
engaged in dances 61%
Engaged in dances 10%
The given schedule shows that 29 % of pupils of 8-9 classes want to be engaged in dances and
10 % are engaged. 61 % do not want to be engaged.
Schedules № 5 and 6: «Styles of dance which pupils prefer».
10-11 forms
80%
70%
60%
50%
40%
30%
20%
10%
0%
Like modern dances
71%
Like classical dance 10%
Like ball ones 5%
The given schedule shows that 68 % of the pupils of the senior classes like modern dances,
20 % - classical, and 3 % - ball ones.
8-9 forms
80%
70%
60%
50%
40%
30%
20%
10%
0%
Like modern dances
71%
Like classical dance 10%
Like ball ones 5%
The given schedule shows that 71 % of the pupils of 8-9 classes like modern dances,
10 % - classical, and 5 % - ball ones.
Schedules № 7 and 8: «The Actions (representation) most often visited by pupils»
10-11 forms
45%
40%
35%
30%
25%
20%
15%
10%
5%
0%
Visit concerts of
celebrities 44%
Visit a theatre 43%
Visit a ballet 3%
The given schedule shows that 44 % of pupils of the senior classes visit concerts of celebrities,
43 % visit a theatre, and 3 % visit a ballet.
8-9 forms
60%
50%
40%
30%
20%
10%
0%
Visit concerts of
celebrities 55%
Visit a theatre 23%
Visit a ballet 10%
The given schedule shows that 55 % of pupils of 8-9 classes visit concerts of celebrities, 23 %
visit a theatre, and 10 % visit a ballet.
IV Conclusion.
The reasons of low level of culture of present generation are established:
1) Insufficient influence from parents.
2) Insufficient attention to the given problem from a society and the state.
3) The epoch of technologies and the information, «unfashionable» art and traditions.
4) Incompetence of adults, their indifference to the given problem.
Conclusion
• On spent poll it has been found out that modern youth loses interest to art.
• The problem of cultural education has become more sharply: if pupils of 10-11 forms somehow
can be considered as experts or, at least, people interested in art, in this case, dance but pupils of
secondary school are practically the proof of a lack of cultural education.
• Decision ways:
a) Accentuation of attention of a society on problems of education of the future generation;
b) Make up the program of visiting theatres, galleries and museums and so on;
c) the Organization and carrying out of the seminars of art heritage of different countries;
d) Attraction of teachers to classes on culture, spirituality, traditions and morals;
e) Use of given materials at lessons of foreign language to increase interest to the given subject
and to study culture of a foreign country.
f) Carrying out of the block of out-of-class actions for studying cultural heritage of our country
in order to educate rising generation pride for the Native land.
4.1 – The list of literature:
1) Ju.A.Bahrushin «History of Russian ballet».
2) Havelock Ellis «The Dance of Life».
3) John Blacking «The Performing arts: music and dance».
4) Julie Charlotte Van Camp «Philosophical problems of dance criticism»
5) Articles of Sakuraj Kejsuke, magazine "Nipponia"
6) Wikipedia materials
7) Questionnaires
8) Results of sociological poll