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Lidový hudebně-taneční projev jako scénický tvar – folklorní soubory v českých zemích v péči jedné instituce

100%

Stavělová D.

Národopisná revue (Journal of Ethnology)

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2015

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vol. 25

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issue 4

294 - 306

EN

The study is a probe into the world of contemporary folklore creation in the Czech lands – quite a young stage genre focused on stage adaptation of folk songs, instrumental compositions and dance, and their transition to the language of the theatre setting. The study is based on the assessment of a series of six biennial shows of folklore ensembles. This series was assessed by means of an analysis of video-records and programme brochures from the perspective of a participant and assessor of the particular years. We were interested in which directions the artistic creation of ensembles, inspired by folklore, is going, which transformations can be observed within this period of twelve years altogether and which issues have remained unchanged from the first attempts to demonstrate folk musical and dance culture on stage. The study is not aimed at an unequivocal classification of all these ways of stage work and topics. In contrast, the author tries to point out the overlaps of diverse views of the same matter, the combination of more approaches which can intersect within a single creative efforts. She tries to capture the tendencies that are safeguarded, transformed or newly discovered within this creative environment. The role of an appropriated institution (the National Information and Consulting Centre for Culture NIPOS-ARTAMA) is emphasized here. This institution provides the participants with an environment perceptive to their utterance, offers various feedback and motivates the participants for their further deeds.

2

Konštruovanie tradícií prostredníctvom činnosti folklórnych súborov

84%

Mušinková M.

Studia Ethnologica Pragensia

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2017

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issue 1

118-126

EN

This study deals with constructing folk tradition by means of activities of local folklore ensembles whilst paying attention to continuous, interrupted and invented traditions. It also deals with terms folk and folklorism and interaction between them while focusing on the activity of a folk ensemble (= folklorism) which repertoire is based on folk origins, and its influence on preservation and development of local folklore. The research was conducted in two Ruthenian villages in the northeast Slovakia; in one of them operates a folklore ensemble. The starting point of the study is a hypothesis that a folklore ensemble helps to revitalize local traditions. From methodological point of view the study is based on field research. The main goal of the work is confirmation or disproval of the hypothesis using an example of a local tradition — wedding ceremony. Using detailed analysis, the study is looking for analogical and differential elements between the individual weddings in one locality while paying attention to the change of wedding in time (comparison of current weddings from the recordings with traditional Ruthenian wedding described in literature by folklorists) and comparing this ceremony in both localities. The study is also trying to determine to what extent is a group/absence of a group affecting the individual wedding ceremonies.

3

Súčasné problémy scénickej tvorby amatérskych folklórnych súborov na Slovensku v kontexte inštitucionálnej starostlivosti o ľudový tanec

84%

Blaho J.

Národopisná revue (Journal of Ethnology)

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2015

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vol. 25

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issue 4

307 - 315

EN

The contribution deals with topical problems of scenic creation of amateur folklore ensembles in Slovakia in the context of institutional care of folk dances. It critically reflects the institutional methodical care and the directing of scenic programmes in the environment of the Slovakian amateur folklore movement with the emphasis on the topical theme which includes the use of archival documentaries with folk dances and their use in author’s scenic works. The text analyses the natural relation of the author’s scenic works inspired by folklore, and points out the principle of imitation and plagiarism and explains their positive and negative connotations. The programmes for children’s folklore ensemble are an independent theme. Other dominating problems of the contribution include the theme of authenticity and stylization when interpreting and arranging (especially in terms of choreography, dramaturgy and stage direction) the original material – the traditional folk dance in connections of its performance on stage.

4

Ignacy Wachowiak – tancerz, choreograf, pedagog (1936-1996)

84%

Drela L.

Roczniki Nauk Społecznych

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2005

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vol. 33

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issue 2

149-167

EN

Ignacy Wachowiak (1936-1996) was a prominent Lublin dancer and choreographer. In the period of 1980-1996 he was a director of the Song and Dance Company of the Lublin Region. His attitude, personality, and choice of the way of life were decisively affected by Wanda Kaniorowa. In 1948 she took Ignacy to her Theatre of the Young Spectators, five years later transformed into a folklore group. W. Kaniorowa developed the skills of her pupils, shared with them her pedagogical knowledge and abilities in dancing, choreography, directing, and managing. In effect, I. Wachowiak came to love folklore, learned it and popularised throughout his life. In the period of 1953-1964 I. Wachowiak performed in ZPiTZL as a soloist – dancer. While he was in the army (1956-1958), he danced in the Central Artistic Company of the Polish Army. Endowed with talents and temperament, he learned the technique and rendered the character of the most demanding dances. He was not spoilt as a member of the company. At the age of 24 he was threatened with a disability due to a contusion while dancing. His effective action at the right moment several times saved the ensemble from dissolution. He put high aspirations into practice by a well-directed daily work. Wachowiak put the Company first before material values. In 1964 he obtained a full-time job there as an instructor and choreographer. Having graduated from the Pedagogical Institute for Dance of the Central Amateur Counselling of the Artistic Movement, in the specialities of folk and ballroom dance, even obtaining the highest “S” category in choreography, he continued education without interruption. From 1965 onwards he became well-known as a choreographer of dance suites. In his work he carried out two goals: artistic and formative, and both of them he treated as equally important. He passed his skills on the members – amateurs - of the Ensemble. He was disciplined, conscientious, ambitious, and gathered people of the same kind around himself. All the positions of the repertoire prepared under his direction were characterised by a striving after perfection: clarity of the drawing, faithfulness to the climate and character, and the style of music. Their performers distinguished themselves in dancing. He was successful on the stages of Poland and the world, trying to get higher and higher – according to the will of W. Kaniorowa. Faithful to folklore, he would extend his interest onto the world heritage of folk culture. In 1985 he established one of the most joyful artistic events in Poland: International Folklore Encounters. Wachowiak was thought to be a choreographer with a charisma. He was especially predisposed to work at large outdoor performances and supervise thousands of participants. From 1984 onwards he was entrusted with the organisation of the harvest festival. In 1988 as the first one in post-war Poland he introduced some patriotic elements to commemorate the 70th Anniversary of Independence into the curriculum of the feast of harvest in Marszewo. Wachowiak believed it was his success to in the ensemble the values advocated by W. Kaniorowa: a family “sunny” atmosphere, the ties among the members of the Company, and the joy of dancing in all dancers. In his message he left for the followers I. Wachowiak expressed his wish to cultivate the transcendent values: beauty and goodness. He prepared choreographers for the Ensemble that would continue his work. One year and a half after his death the Representation of the Lublin Song and Dance Company conducted by Bożena Baranowska gained the highest score and Grand Prix at a tournament of continents in Brasil. The band was conducted by Włodzimierz Kukawski and the whole was directed by Alicja Lejcyk-Kamińska. A question arises: what was so strong to have bound the various generations of artists and dancers with the Lublin ensemble? The author puts forward a hypothesis that the solid emotional relationship with the work in the Company consisted of four elements mentioned by humanistic ergonomic. Successive directors and instructors distinguished themselves by thorough professionalism in their disciplines. One of the components of artistic activity is thinking – conceptual, creative work. The member of the Company acquired skills and travelled, thereby satisfying their aesthetic needs and participating in fun. In their work on behalf of the common good and in social work there was sacrifice as well. The large number of the levels of the Company's activity provides topics for research on its history and today.

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2 Národopisná revue (Journal of Ethnology)

1 Roczniki Nauk Społecznych

1 Studia Ethnologica Pragensia

1 Blaho J.

1 Drela L.

1 Mušinková M.

1 Stavělová D.

1 2017

2 2015

1 2005

Lidový hudebně-taneční projev jako scénický tvar – folklorní soubory v českých zemích v péči jedné instituce

Konštruovanie tradícií prostredníctvom činnosti folklórnych súborov

Súčasné problémy scénickej tvorby amatérskych folklórnych súborov na Slovensku v kontexte inštitucionálnej starostlivosti o ľudový tanec

Ignacy Wachowiak – tancerz, choreograf, pedagog (1936-1996)