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1

НАВЧАЛЬНО-МЕТОДИЧНА СКЛАДОВА ФОРМУВАННЯ ПРОФЕСІЙНИХ КОМПЕТЕНТНОСТЕЙ КЕРІВНИКІВ ХОРЕОГРАФІЧНИХ КОЛЕКТИВІВ НАПРЯМУ ПІДГОТОВКИ «ФІЗИЧНЕ ВИХОВАННЯ»

100%

Бондаренко В.

Педагогічні науки: теорія, історія, інноваційні технології

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2014

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issue 10(44)

3-13

EN

An extremely important place in the training of competitive specialists in general, and future teachers in particular, takes the formation of professional competence, which involves awareness of their role in the educational process and ownership of professional and pedagogical qualities. Competence-based approach directs the process of specialist training in conditions of combined areas of training «Physical education» and «Choreography» by understanding the tasks of learning activities, creates the ability to get necessary knowledge and ensures the acquisition of practical experience. An important component of training of specialists in the combined areas of training (specialties) «Physical education» and «Choreography» is the formation of professional competence (general and specialized professional) that will be implemented in its teaching, administrative and research activities. The level of development of specific competencies will characterize the readiness for professional activity, because it is closely connected with the ability of the future specialist to solve professional problems. Professional competence of future teachers is the level of professional skills, ability to operate effectively with a high degree of self-regulation, self-reflection, self-assessment, quickly and flexibly respond to the dynamics of the educational environment. The basic level of professional competence of specialists of paired training areas attain through the process of forming: professional and pedagogical skills for the development of constructive, diagnostic, organizational, managerial abilities; professionally-communicative competence – to develop the ability to establish business and informal relationships, introspection (reflection), culture and technology of speech; motor competencies for the development of the ability to demonstrate a high technical standard of physical and dance exercises; social and personal competence for the development of intellectual, moral and strong-willed, aesthetic, perceptual and social qualities. The level of formation of professional competence, including teaching, becomes a ground for the assertion of the future specialist in the labor market and at the same time a step to the next self-education and self-development. Further study and generalization of the problem of determining the content of all the components of professional competence will form a holistic model of training of specialists of conjugate directions «Physical education» and «Choreography».

2

Anioł, geniusz, boski tancerz. Taniec Wacława Niżyńskiego jako tekst o artystycznym przełomie i przełomowym artyście

100%

Waligórska-Olejniczak B.

Acta Polono-Ruthenica

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2009

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vol. Tom 1 Nr XIV

299-308

EN

The dance of Vaclav Nijinsky, Polish artist, whose accomplishments changed the kinetic language of Russian ballet, can be treated as a groundbreaking phenomenon in the field of choreography. The artist revolutionised not only the ballet dancing technique but also had influence on changing the meaning of the role of a ballet master in the process of designing a dance performance. He abandoned the automatic routine of ballet dance leading it towards abstraction, which might be comparable with the first pictures of Pablo Picasso preparing audience for cubism and breaking with figurative art. His ideas situate him also in the context of the Great Theatre Reform which focused on the problem of rhythm, the process of audience and artist’s participation in the creation of multi-level work of art as well as on the aspect of the unity of different disciplines aimed at continuous discovery of the sacrum.

3

An Argument for Investigation into Collaborative, Choreomusical Relationships within Contemporary Performance: A Practical and Theoretical Enquiry into the Distinct Contributions of a Collaborative, Co-creative Approach

100%

Rymer J.

Avant

|

2017

|

issue 8

EN

This paper argues that for both creators of a choreomusical work, a collaborative creative process must be worthwhile, enjoyable, or contribute something unique to motivate artists to collaborate at a time where, to some degree, technology negates the necessity to do so. Therefore, the scholar interested in choreomusical relationships should also be interested in collaborative, creative methods. The research considers cross-disciplinary and inter-disciplinary working processes in music and dance in the twentieth and twenty-first centuries to enquire into the ways that choreomusical relationships have developed for composers and choreographers working collaboratively. It asks whether there are factors which should be considered in a collaborative working method between composer and choreographer to achieve a co-creative endeavor which is satisfactory for both parties. Satisfactory, co-creative results are defined by the satisfaction of both collaborators throughout the creative process, regardless of the end result. These questions were addressed both through historical analysis of collaborations within contemporary dance, and exploration of how choreomusical collaboration can be successful or unsuccessful in terms of co-creation and the satisfaction of each party within current artistic practice. Informed practical research and the use of journals coincide with a grounded theory approach: through analysis of both sets of data, factors which help and hinder choreomusical collaboration in terms of co-creative approaches were identified. The results of this analysis are presented in a spectrum model of possible working relationships between composer and choreographer; this paper applies this to case studies identified within the research in terms of cognitive innovation.

4

An Argument for Investigation into Collaborative, Choreomusical Relationships within Contemporary Performance: A Practical and Theoretical Enquiry into the Distinct Contributions of a Collaborative, Co-creative Approach

100%

Rymer J.

Avant

|

2017

|

vol. 8

EN

This paper argues that for both creators of a choreomusical work, a collaborative creative process must be worthwhile, enjoyable, or contribute something unique to motivate artists to collaborate at a time where, to some degree, technology negates the necessity to do so. Therefore, the scholar interested in choreomusical relationships should also be interested in collaborative, creative methods. The research considers cross-disciplinary and inter-disciplinary working processes in music and dance in the twentieth and twenty-first centuries to enquire into the ways that choreomusical relationships have developed for composers and choreographers working collaboratively. It asks whether there are factors which should be considered in a collaborative working method between composer and choreographer to achieve a co-creative endeavor which is satisfactory for both parties. Satisfactory, co-creative results are defined by the satisfaction of both collaborators throughout the creative process, regardless of the end result. These questions were addressed both through historical analysis of collaborations within contemporary dance, and exploration of how choreomusical collaboration can be successful or unsuccessful in terms of co-creation and the satisfaction of each party within current artistic practice. Informed practical research and the use of journals coincide with a grounded theory approach: through analysis of both sets of data, factors which help and hinder choreomusical collaboration in terms of co-creative approaches were identified. The results of this analysis are presented in a spectrum model of possible working relationships between composer and choreographer; this paper applies this to case studies identified within the research in terms of cognitive innovation.

5

Formalne i pozaformalne obszary zawodowej edukacji tanecznej w Polsce

100%

Zadłużny M.

Dyskursy Młodych Andragogów / Adult Education Discourses

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2012

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vol. 13

73-89

EN

The text shows different fields and possibilities of professional dance training in Poland – one of the few European countries, where only recently dance and choreography training at academic level has been introduced. The aim of the article is to draw attention to the possible reasons of this fact, and also to present some other forms of training that had formed as the result of the earlier lack of possible formal training. Moreover, the paper points out some possible dangers that the free educational market brings to the dancing field and possible repercussions of this condition. The author identifies formal needs necessary to introduce ‘dance’ at universities, defines minimum personnel and training standards, and differentiates between dance, chorography and dance pedagogy. Next, the article contains a synthesis of a historical outline of how the dance education was formed in Poland before and after the Second World War. The author also examines the formation of Polish academic tradition in the dancing field, and presents some selected offers of professional dance education in Poland that include dance and choreography trainings. Lastly, there is an analysis of a contemporary dance training model in Poland, along with the outline of trends, dangers and contemporary contexts of the development of dance education.

6

Współczesny taniec afrykański jako praktyka dekolonizacyjna

88%

Szymajda J.

Didaskalia. Gazeta Teatralna

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2023

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issue 175-176

35-59

EN

This article takes a closer look at the processes of re-appropriation of the aesthetic field within which the phenomenon known as ‘contemporary African dance’ was shaped in the second half of the 20th century, mainly for the use of Western audiences. In the context of the generally outlined political and economic conditions of production, and using examples of performances that illuminate the basic concepts of postcolonial theories (e.g. H.K. Bhabha, E.W. Said and R. Bharucha), the main historical and aesthetic lines of the formation of the term ‘contemporary African dance’ and its possible designations are presented, and the artistic attitudes and formal procedures that artists of different generations employ in the process of reclaiming and transforming the aesthetic field that this term defines are evoked.

7

Ervín Varga and Implementation of the Elements of Particularism in the Practice of Folklore Revival Movement in Slovakia after 2000

88%

Hrabovská M.

Národopisná revue (Journal of Ethnology)

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2023

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vol. 33

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issue 1

33 - 42

EN

The study deals with the development of dance folklorism in Slovakia after 2000. Attention is mainly paid to Ervín Varga (1955–2013), a leading choreographer and dance teacher, whose artistic activities started in the 1980s the process of implementing the elements of particularism in the performance, teaching and choreographic practice. He was a mentor and partially also a primary role model for the incoming generation of dance teachers, choreographers, and performers of two influential Slovakian civic associations – “Dragúni“ from Bratislava and “Klub milovníkov autentického folklóru“ from Košice – in their teaching and artistic practice. The study is based on the theoretical concept of essentialisation and particularisation by the American dance theorist Anthony Shay (2002). Using this concept, he replaces the traditional way of thinking about stylisation in dance and its theoretical reflection in three stages – quotation, imitation, and re-composition − which were introduced into the professional discourse of Slovak folkloristics by Milan Leščák and Svetozár Švehlák in the 1970s. The study elucidates the contribution of Ervín Varga to the choreographic, teaching and performance practice in folklore revival movement in Slovakia after 2000 and defines basic features of particularism in dance folklorism after 2000.

8

Choreographic versions of Purcell's "Dido & Aeneas": Mark Morris and Sasha Waltz

88%

Alonso Z.

Collectanea Philologica

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2012

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vol. 15

ES

En este artículo se lleva a cabo una revisión del mito de Dido y Eneas en el ámbito coreográfico y se estudia la importancia que ha tenido la partitura de Henry Purcell (ca. 1688) entre bailarines y coreógrafos de la danza contemporánea. Las versiones de Mark Morris (1989) y Sasha Waltz (2005) constituyen, en concreto, dos ejemplos ideales para percibir ciertos matices en su relación con el mito virgiliano a partir de unos intereses bien diferenciados.

9

The Politicality of Choreography for Families from the Perspective of Performance as Research

88%

Bylka-Kanecka H., Jaskulski J.

Didaskalia. Gazeta Teatralna

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2022

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issue English Issue 2022

4-30

EN

The aim of the paper is to provide a reflection on the choreographic practice in the field of dance performance for families in the context of related fields of politicalness, from the perspective of performance as research. The author describes some important moments in the global and Polish cultural policy concerning dance for children and presents an understanding of politicalness after Ana Vujanović and Mark Franko. The text undertakes reflection on the usefulness of the language of posthumanism (Chikako Takeshita, Karen Barad and Donna Haraway) in research into choreography intended for families. The author gives an insight into the creative practice by analysing the dimensions of politicalness in three performances by the Holobiont collective which she co-founded.

10

Polityczność choreografii dla rodzin z perspektywy performance as research

88%

Bylka-Kanecka H.

Didaskalia. Gazeta Teatralna

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2022

|

issue 167

209-235

EN

The aim of the paper is to provide a reflection on the choreographic practice in the field of dance performance for families in the context of related fields of politicalness, from the perspective of performance as research. The author describes some important moments in the global and Polish cultural policy concerning dance for children and presents an understanding of politicalness after Ana Vujanović and Mark Franko. The text undertakes reflection on the usefulness of the language of posthumanism (Chikako Takeshita, Karen Barad and Donna Haraway) in research into choreography intended for families. The author gives an insight into the creative practice by analysing the dimensions of politicalness in three performances by the Holobiont collective which she co-founded.

11

Choreography and Ceremony: The Artful Side of Action

75%

James W.

Human Affairs

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2007

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vol. 17

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issue 2

129-137

EN

"Actions" are normally thought of as taken by individuals. But to understand their quality, it is not enough to classify them from the perspective of individual psychology (rational vs. emotional, technical vs. artistic, etc.). We need to grasp their relation to those forms of collective life which have a historical existence independent of specific individual action (institutions, the conventions of social gathering, the organizing principles of games, architecture, music, ritual, etc.). This paper focuses on what characteristics such forms of collective life share, not what seems to separate them (eg. into sacred vs secular, technology vs creative art). The main features emphasized are their choreography, that is their enactment within commonly understood patterns of a spatial and temporal kind, as well as rules of interactive movement; and their ceremonial character, something which can be found in simple situations such as a conversation or a meal, though much more intensely in major religious ritual. A particularly resonant image for these enactments of social life is the dance. Because there is a ceremonial aspect to all social interaction, the paper argues that individual action, necessarily oriented to the social context, always has an "artful" side (however habitual or technical). The paper draws on the writings of Wittgenstein on action, and those of Collingwood on language and art, to shape the argument. Illustrations are provided of the "artful" employment of language (especially by actors on the stage), the "artful" side of material culture, and from the author's own ethnographic studies, the significance of dance among Sudanese refugees in Ethiopia.

12

ЭКСПЕРИМЕНТАЛЬНОЕ ОБОСНОВАНИЕ ТЕЛЕСНО-ОРИЕНТИРОВАННЫХ МНОГОФУНКЦИОНАЛЬНЫХ СРЕДСТВ ТАНЦА, ХОРЕОГРАФИИ И СИЛОВОЙ АЭРОБИКИ В ДВИГАТЕЛЬНО-КООРДИНАЦИОННОЙ ПОДГОТОВКЕ СТУДЕНТОК 17-19 ЛЕТ

75%

Масловский О. Е., Мойсеенко Ю. Н., Кузмицкая Е. А.

Roczniki Naukowe Wyższej Szkoły Wychowania Fizycznego i Turystyki w Białymstoku

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2016

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issue 3(17)

53-58 s.

RU

Динамика медико-биологических показателей студенток 17-19 лет за период экспериментаполностью подтвердила гипотезу исследования об эффективности использования телесно-ориентированных многофункциональных средств танца, хореографии и силовой аэробики (силовой фитнес) в двигательно-координационной и атлетической подготовке на уровне статистически достоверной значимости основных медицинских показателей физического развития и функционального состояния женщин 17-20 лет. На втором курсе их положительное влияние на организм еще более выражено. На последующих старших курсах прирост показателей несколько тормозится. Отрицательное влияние на их рост связано с уменьшением числа студенток с нормальной массой тела за счет студенток превышающих норму, а также с некоторым увеличением их количества с дефицитом массы тела.

EN

The article reviews relevant issues of bodily oriented multifunction remedies of dance, choreography and power aerobics in the motive and coordinating training of 17-19 year-old female students and their scientific ground.

13

Ciała tańczące ku wolności

75%

Szymajda J.

Pamiętnik Teatralny

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2024

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vol. 73

|

issue 1

9-13

EN

Joanna Szymajda's introduction to the essay-cluster The Right to Dance.

PL

Wstęp Joanny Szymajdy do bloku tekstów Prawo (do) tańca.

14

Choreografie antropocenu, czyli o materiach wprawiających w ruch

63%

Zamorska M.

Prace Kulturoznawcze

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2018

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vol. 22

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issue 1-2

113-128

EN

A point of departure for the author is thesis proposed by T.J. LeCain, who studied anthropocentrism hidden in a very nucleus of debate about antropocene. One should, in his view, comprehend and analyse culture and technology as the part or the product of a matter. The “human age” initiated in the age of the industrial revolution driven with fossil fuels turns out to be an effect of transformations, of which coal is a chief perpetrator. The turn from anthropo- to carbocene let us examine factors which are the underlying reason for development of industrial-information society. The very material factors (retaining wide understanding of the term “matter”, which can also include the temperature or the gravity) are called to the scene, and then embodied or set in motion by choreographers — Mette Ingvartsen, Agata Siniarska and Aleksandra Borys — who try to problematize in their works the issue of dispersed, material agency. In her text the author examines how the problems essential for anthropocene and carbocene debates are being choreographed.

15

Bylica pospolita, „synfitonizm” i ekspozycje roślinno-ludzkich historii

63%

Zamorska M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2021

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vol. 113

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issue 1

60-73

EN

What curatorial gesture would make it possible to give rise to a temporary museum in situ where anthropogenic inscriptions could be presented by the living exhibits themselves? In this article the past of the Anthropocene is defined as a time of intensified activity of Homo sapiens in the early Holocene, before our impact on the hydrosphere, geosphere and atmosphere became irreversible. The author ponders whether the current definition of a natural history museum can incorporate a project of a living, embodied, post-anthropocentric and post-institutional museum. She suggests plants as essential partners in the human becoming across the biosphere. Chlorophyll organisms initiated the Great Oxidation Event, or Oxygen Catastrophe, which led not only to the extinction of anaerobic organisms but also to the proliferation of oxygen-dependent life, including humans. The human-plant co-existence is studied through the consequences of the ‘desire for sunlight’ of the former and the ‘desire for mobility’ of the latter. Synanthropic plants, which thrive growing next to people, emerge as the protagonists of this story, with the shared interspecies history and anthropogenic mutations inscribed in their bodies. This is a story of the human–plant co-evolution where contemporary, ‘spontaneous’ synanthropic plants are depicted as agents. In this context the author describes the artistic practices of Andrea Haenggi, analysing them as curatorial gestures for an interspecies dialogue within the framework of a ‘museum setting’.

16

Wstęp. Zatańczyć, wyrazić, opisać. Języki tańca

63%

Chałupnik A., Klimczyk W.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2020

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vol. 111

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issue 4

10-11

PL

Czym są języki tańca i na czym polega ich różnorodność? Z potrzeby metodologicznej refleksji nad tym zagadnieniem narodził się pomysł badawczego przyjrzenia się temu niełatwemu, wbrew pozorom, tematowi. Kłopot stanowi już podstawowa definicja przedmiotu badań. Dla Joan Kealiinohomoku kluczowy wydaje się moment rozpoznania tańca jako tańca właśnie przez członków tańczącej wspólnoty. Intuicyjnie nazywamy tańcem ekspresję bywalców klubów techno, oglądany na scenie balet klasyczny, telewizyjne show w rodzaju Tańca z gwiazdami czy będące często niezbywalną częścią rytuału tańce w kulturach plemiennych – fenomeny niesłychanie przecież odmienne. Łączy te zjawiska ruch ciała, w skomponowanej w czasie i przestrzeni strukturze, czasami posługującej się znakiem. Tym, co wysuwa się na pierwszy plan, byłaby funkcja estetyczna. Taniec to tworzenie i doświadczanie ulotnego piękna. W planowanym numerze będziemy poszukiwać języka, w którym teoria spotyka się z praktyką, a metodologia jest – jak w somaestetyce Richarda Shustermana – wglądem we własne cielesne doświadczenie, samowiedzą. Ideą numeru jest łączenie refleksji teoretycznej nad tańcem z praktyką taneczną i choreograficzną. Kategoria intymności w tangu argentyńskim, improwizacja wobec choreografii, taniec jako narzędzie międzykulturowe, choreografie przeszłości to tylko niektóre z planowanych zagadnień.

17

Improwizacja w choreografii

63%

Ciesielski T.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2020

|

vol. 111

|

issue 4

26-41

EN

This article discusses the relationship between choreography and improvisation, both in the context of the denotation of these two terms and the creative activities that they describe. While of key importance for the phenomenon of dance, both notions remain vague and are frequently presented as contradictory. Adopting an alternative perspective, this paper, firstly, offers an overview of the historical contexts that have shaped the contemporary forms of performance dance as well as non-European contexts. Thus, it provides the basis for exploring the extent to which the assumptions and ideas of improvisation (developed primarily in the second half of the 20th century in the United States) have been updated in contemporary practices. Secondly, the article analyses the relationship between improvisation and choreography. It is studied in terms of creative strategies employed throughout the production process, with a particular emphasis on the participants’ agency. Seeking to avoid value judgements and inaccurate labels, the author proposes a more frequent use of other terms such as a ‘dance artist’ and verbal nouns such as ‘choreographing’ and ‘improvising’.

18

Oblicza ofiary w choreograficznych i literackich odsłonach Święta wiosny Igora Strawińskiego

63%

Narewska A.

Avant

|

2016

|

vol. 7

|

issue 1

EN

The paper Faces of the victim in the choreographic and literary renditions of Rite of Spring by Igor Stravinsky presents various interpretations of the Chosen One, who is the central figure in many productions of this ballet. The main research materials for this article are selected choreographies of Rite of Spring, as well as literary texts inspired by this work. The aim of this paper is to present the dialogue between the original work by Stravinsky and Nijinsky and its choreographical and literary reinterpretations.

PL

Artykuł Oblicza ofiary w choreograficznych i literackich odsłonach Święta wiosny IgoraStrawińskiego prezentuje różne interpretacje centralnej figury wielu inscenizacji tego ba- letu Igora Strawińskiego – Ofiarowanej. Główny materiał badawczy stanowią wybranechoreografie Święta wiosny, a także teksty literackie inspirowane tym dziełem. Celem ar-tykułu jest prezentacja dialogu, jaki zachodzi pomiędzy wyjściowym dziełem Strawiń- skiego i Niżyńskiego a jego reinterpretacjami, który odbywa się nie tylko na płaszczyźnie choreograficznej, lecz również na gruncie literackim.

19

Oblicza ofiary w choreograficznych i literackich odsłonach Święta wiosny Igora Strawińskiego

63%

Narewska A.

Avant

|

2016

|

vol. 7

|

issue 1

PL

Artykuł Oblicza ofiary w choreograficznych i literackich odsłonach Święta wiosny IgoraStrawińskiego prezentuje różne interpretacje centralnej figury wielu inscenizacji tego ba- letu Igora Strawińskiego – Ofiarowanej. Główny materiał badawczy stanowią wybranechoreografie Święta wiosny, a także teksty literackie inspirowane tym dziełem. Celem ar-tykułu jest prezentacja dialogu, jaki zachodzi pomiędzy wyjściowym dziełem Strawiń- skiego i Niżyńskiego a jego reinterpretacjami, który odbywa się nie tylko na płaszczyźnie choreograficznej, lecz również na gruncie literackim.

EN

The paper Faces of the victim in the choreographic and literary renditions of Rite of Spring by Igor Stravinsky presents various interpretations of the Chosen One, who is the central figure in many productions of this ballet. The main research materials for this article are selected choreographies of Rite of Spring, as well as literary texts inspired by this work. The aim of this paper is to present the dialogue between the original work by Stravinsky and Nijinsky and its choreographical and literary reinterpretations.

20

Ultras in Trnava: History, Activities and Ideology

63%

Kušnierová D.

Ethnologia Actualis

|

2014

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vol. 14

|

issue 2

59-96

EN

The environment of football fans is unknown phenomenon for the rest of the public. This article offers basic view on formation and functioning of the most numerous and the most active ultras group in Slovakia, Trnava fans. First part of the text encompasses a history overview of ultras movement, as well as an overview of basic activities of ultras fans during a football match and also outside of it. The second part of this text deals with the most debated activity of football fans, which is violence during a football match.

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НАВЧАЛЬНО-МЕТОДИЧНА СКЛАДОВА ФОРМУВАННЯ ПРОФЕСІЙНИХ КОМПЕТЕНТНОСТЕЙ КЕРІВНИКІВ ХОРЕОГРАФІЧНИХ КОЛЕКТИВІВ НАПРЯМУ ПІДГОТОВКИ «ФІЗИЧНЕ ВИХОВАННЯ»

Anioł, geniusz, boski tancerz. Taniec Wacława Niżyńskiego jako tekst o artystycznym przełomie i przełomowym artyście

An Argument for Investigation into Collaborative, Choreomusical Relationships within Contemporary Performance: A Practical and Theoretical Enquiry into the Distinct Contributions of a Collaborative, Co-creative Approach

An Argument for Investigation into Collaborative, Choreomusical Relationships within Contemporary Performance: A Practical and Theoretical Enquiry into the Distinct Contributions of a Collaborative, Co-creative Approach

Formalne i pozaformalne obszary zawodowej edukacji tanecznej w Polsce

Współczesny taniec afrykański jako praktyka dekolonizacyjna

Ervín Varga and Implementation of the Elements of Particularism in the Practice of Folklore Revival Movement in Slovakia after 2000

Choreographic versions of Purcell's "Dido & Aeneas": Mark Morris and Sasha Waltz

The Politicality of Choreography for Families from the Perspective of Performance as Research

Polityczność choreografii dla rodzin z perspektywy performance as research

Choreography and Ceremony: The Artful Side of Action

Ciała tańczące ku wolności

Choreografie antropocenu, czyli o materiach wprawiających w ruch

Bylica pospolita, „synfitonizm” i ekspozycje roślinno-ludzkich historii

Wstęp. Zatańczyć, wyrazić, opisać. Języki tańca

Improwizacja w choreografii

Oblicza ofiary w choreograficznych i literackich odsłonach Święta wiosny Igora Strawińskiego

Oblicza ofiary w choreograficznych i literackich odsłonach Święta wiosny Igora Strawińskiego

Ultras in Trnava: History, Activities and Ideology