The history of the emergence and development of Russian folk dance. The emergence of folk dance

Folk art is the essence of the nation's mentality, character, aspirations and hopes of the people. Through folk song and dance, you can learn the history and dreams of the people, their hopes for the future

Folk dance is one of the most ancient arts. It arose from the need of a person to express his emotional state with the help of the body. The dance reflects the daily life of a person, his workday. Joyful and sad impressions were also expressed through movements to a certain rhythm, and later to music.

Dance history

The dance appeared at the dawn of history during the primitive communal system. All important events in the life of a primitive man - birth, death, treatment of a sick person, the choice of a new leader of the tribe, a prayer for the harvest, good weather - were accompanied by dances. Dance art was present and is present in the cultural traditions of any human community, in any ethnographic group. Gradually, dance separated from song and became a separate art form.

Over time, the choreography has changed, each ethnic group has its own characteristics. In ancient Egypt, the art of dancing was mainly of a ritual nature. In antiquity, paramilitary dances were added to ritual dances, designed to raise the spirit of the soldiers before the battle. In ancient Greece, with the development of theatrical art, stage dance also appears. Thus, in the antique period, folk dances can be divided into stage, military, sacred (religious, ceremonial) and social. In the Middle Ages, there is a division into court and country dance. This division does not yet have clear boundaries, and often the same movements were present in palace and folklore dances.

Ballroom dance and ballet developed in the 17-19th centuries. But the origins of court and stage choreography lie in folk dance. Now there are many dance styles and types, but all of them are united by the unity of music, rhythm and movement.

Types of folk dance

The oldest type of folk dance that exists among almost all ethnographic groups is. His movements are simple and consist in walking in a circle accompanied by music or singing. The shape of the circle may have symbolized the sun. The round dance existed and still exists today among all Slavic peoples. In Lithuania it is called korogod, in Moldavia - chorus, in Bulgaria, Romania - horo, among Croats, Bohemians, Dalmatians - colo.

One of the oldest dance traditions is that of the African continent. The peculiarity of Negro dance is in the predominant meaning of rhythm over music. African culture gave material for the development of many dances in Latin America: samba, cha-cha-cha, and many others. Even modern dance styles - RnB and others - are based on the folk art of the black population of the world.

Folk dance created the basis for ballroom dancing as well. So, well-known and beloved by everyone, it originated from the old folk dance Volta, the mazurka, which became the queen of the ball in the 18-19 centuries - from the Polish folk dances mazur, kujawiak and oberek.

Some folk dances are the hallmark of one country, like tarantella for Italy, "Kalinka", "Barynya" for Russia, Cossacks, for Ukraine, for Poland, for Hungary. And others have spread throughout the world, including the national characteristics of different regions, like. There are countless styles and types of folk dances, but all of them are united by one thing - they reflect the chronicle of the history of the people, its soul and character.

Features of folk dance

Folk dance is democratic. You don't have to be a professional to express your emotions and feelings with body movements: folk dance is available to everyone. Folk dance is anonymous, it does not have a specific author. Movement and music are passed down from generation to generation, evolving over time.

Folk dance is one of the most ancient arts. It arose from the need of a person to express his emotional state with the help of the body. The dance reflects the daily life of a person, his workday. Joyful and sad impressions were also expressed through movements to a certain rhythm, and later to music.

The origins of dance art are laid in ancient times. Evidence of this is the rock paintings depicting dancing figures, created presumably during the Neolithic period (8 - 5 thousand years BC).

Until now, there is no consensus about the primacy of the birth of dance, song or music, one thing is indisputable - the appearance of dance is associated with the awareness of rhythm as an accompaniment to a certain sequence of body movements. These rhythmic body movements could carry a different content, which later served as the reason for the creation of many theories about the origin of dance (its predecessors were called play, magic or religious rituals, erotic instincts, etc.). Any of the theories has the right to exist, and also cannot be considered the only correct one. Their careful study confirms the conclusion - at all times, dance has played an important role in human social life, in its harmonious, aesthetic and physical development.

Already at the first stage of its existence, dance tried to reflect reality in a social form, select its most typical features, give them a certain image. The first music for the dancers was the sound of drums, the noise of jingling bracelets and amulets, the first make-up was a face painting imitating blood, and the first experience of acting expressiveness was imitation of various animals.

The birth of the art of dance

The first dances of antiquity were far from what is now called this word. They had a completely different meaning. With various movements and gestures, a person conveyed his impressions of the world around him, putting his mood, his state of mind into them. Exclamations, singing, pantomime play were interconnected with dancing. The dance itself has always, at all times, been closely associated with the life and life of people. Therefore, each dance corresponds to the character, the spirit of the people from which it originated. With the change in the social system, living conditions, the nature and subject matter of art changed, and dance also changed. He was deeply rooted in folk art.

Dancing was very common among the peoples of the ancient world. The dancers strove to ensure that every movement, gesture, facial expression expressed some thought, action, deed. Expressive dances were of great importance both in everyday life and in public life. Very often the festivities began and were accompanied by dancing.

For a man of primitive society, dance is a way of thinking and living. Hunting techniques are practiced in dances depicting animals; the dance is used to express prayers for fertility, rain, and other vital needs of the tribe. Love, labor and ceremony are embodied in dance movements.

Community dances accompanied family and personal celebrations, city and national holidays. Dances were different: domestic, urban, and rural. They were varied in subject matter and compositional drawing, in the composition of the performers. It was social and everyday dances that had a great influence on the emergence of stage dance.

Over time, the choreography has changed, each ethnic group has its own characteristics. In ancient Egypt, the art of dancing was mainly of a ritual nature. In antiquity, paramilitary dances were added to ritual dances, designed to raise the spirit of the soldiers before the battle. In ancient Greece, with the development of theatrical art, stage dance also appears. Thus, in the antique period, folk dances can be divided into stage, military, sacred (religious, ceremonial) and social. In the Middle Ages, there is a division into court and country dance. This division does not yet have clear boundaries, and often the same movements were present in palace and folklore dances.

Ballroom dance and ballet developed in the 17-19th centuries. But the origins of court and stage choreography lie in folk dance. Now there are many dance styles and types, but all of them are united by the unity of music, rhythm and movement.

The most ancient type of folk dance that exists in almost all ethnographic groups is the round dance. His movements are simple and consist in walking in a circle accompanied by music or singing. The shape of the circle may have symbolized the sun. The round dance existed and still exists today among all Slavic peoples. In Lithuania it is called korogod, in Moldavia - chorus, in Bulgaria, Romania - horo, among Croats, Bohemians, Dalmatians - colo.

One of the oldest dance traditions is that of the African continent. The peculiarity of Negro dance is in the predominant meaning of rhythm over music. African culture provided material for the development of many dances of Latin America: mambo, merengue, samba, cha-cha-cha, lambada and many others. Even modern dance styles - jazz dance, popping, rock and roll, hip-hop, break dance, RnB and others - are based on the folklore art of the black population of the world.

Folk dance created the basis for ballroom dancing as well. So, the well-known and beloved waltz came from the old folk dance Volta, the mazurka, which became the queen of the ball in the 18-19 centuries - from the Polish folk dances mazur, kujawiak and oberek.

Some folk dances are the hallmark of one country, like tarantella for Italy, Kalinka, Barynya for Russia, Cossack, hopak for Ukraine, Krakowiak for Poland, czardas for Hungary. Others have spread all over the world, including the national characteristics of different regions, like polka and gypsy dances. There are countless styles and types of folk dances, but all of them are united by one thing - they reflect the chronicle of the history of the people, its soul and character.

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The history of the formation of Russian folk dance

Among the many forms of artistic culture, choreographic art holds a special place. It develops imaginative thinking and imagination, as well as ensures harmonious spiritual and physical development, brings up to an understanding of beauty. The national identity of each nation directly depends on folklore. In which a large role is assigned not only to music, folk tales, customs and rituals, but also to folk dance - dance.

Folk dance is a collective artistic creation of the people, which has absorbed its centuries-old life experience and knowledge.

Folk dance reflects a person's life in various ways, reveals his spiritual beauty and wealth. The aesthetic ideals embedded in it have had a beneficial effect on many generations of people. Everyday life and customs of ethnic groups in different countries are directly related to the development of cultural heritage and have a huge impact on the formation of dance culture. choreographic art is one of the most widespread and ancient art forms that originated from the ethnic structure of each nation. Since olden times, by means of dance, people have conveyed their feelings, emotions and attitude to life.

Each folk dance is the history of the people. It reflects joys and sorrows, wisdom, heroism, everyday life, morals and deep faith in a good beginning. Since ancient times, dances have accompanied a person throughout his life. Only the character of these works composed by the people changed.

The formation of the choreographic art of our country, not mediocre, took place under the influence of the development of the Russian choreographic school. This was due to territorial, political and economic factors, which inadvertently dooms each of us to get acquainted with the choreographic culture of the Russian people. folk dance choreographic culture

The historical past of the Russian people testifies to its extremely developed creative environment, in which many generations of people were brought up and a national culture was formed.

Russian folk dance originated in the rites and games of the ancient Slavic tribes. Most of the old Russian dances had a close connection with the cult of agriculture, the natural cycle and imitation of the habits of animals. Analyzing the works of researchers of Russian national and dance culture, no examples of warlike dances were found.

In the ritual dances of ancient Russia, the forms of thinking and attitude characteristic of a person of that time were manifested. This is animism and magic. Animism is the spiritualization of nature, the belief that an invisible spirit is hidden behind every living and non-living object of the universe, thereby reviving it. Animism is closely related to the magical representation of the world - the belief in the power of words, rhythm, body movement, with the help of which, one way or another, a person can influence the power of nature and cause the desired results: a rich harvest, good health, good luck on the hunt, livestock. The ritual dances have always been based on the principle of analogy - the belief in gaining power over an object by means of mastering its external appearance. The main thing in the hunting dances was the imitation of an agile beast. The center of agricultural dancing was imitation of natural phenomena, birds and animals, labor and land work. And here a person surrendering to his imagination, transferred it into reality. Burning or burying an effigy of Maslenitsa, Kostroma, he imagined that he was burying and saying goodbye to winter for one more year. Imitating a bird flight, he called for the arrival of real birds. Reproducing imitation of labor processes, he wanted to get a rich harvest. Thus, in rituals and ritual dances, a person consolidated the knowledge and experience he received. Without deeply comprehending the result of his actions, he viewed it as the result of the impact of good or evil forces. I tried to repeat the same actions, reproducing them in the same environment, in the same order, which brought him good luck. That is, since, in his understanding, it was pleasing to the good forces. So ritual dances were fixed among the people and passed on from generation to generation.

The history of the formation of the aesthetic side of folk rituals is a constant selection by the people of the best works of their creativity. These works, having entered the rite, did not remain unchanged, they were polished from generation to generation.

With the passage of time, the faith of the Russian people in the magical power of the rite gradually fades away, and takes, already, a more playful form. Gradually, separate genres were distinguished from the rituals, such as games, songs and round dances, which served as entertainment for the Russian people in their leisure time.

The most ancient and widespread form of Russian dance that has survived to this day is round dances, which have many divisions into genres and forms. Round dances can be playful and ornamental, performed in a circle, linearly, as well as absorb a variety of different geometric patterns, be both mixed in the composition of the dancers, and exclusively female.

Russian dance became and developed in close connection with the song, because in spite of all the variety of forms of round dance Russian dance, the dramatic beginning was laid and proceeds from the rhythmic pattern of music. Analyzing the work of A. Klimov "Fundamentals of Russian folk dance" - "Each new era, new political, economic, administrative and religious conditions were reflected in the forms of public consciousness, including folk art", we came to the conclusion that the development of Russian folk dance is closely related to the entire history of the Russian people. Now we are witnessing Russian dance as it has come down to our time, under the influence of all life and human factors. From year to year, under the influence of progress in society, the evolution of dance takes place. Gradually, outdated dance vocabulary leaves and new types of dance emerge. Proceeding from this, Russian folk dance is also under constant influence from outside, thereby continuously improving and enriching lexically.

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Dance is a special kind of folk art.

It is inconceivable how many different dances existed in Russia and even exists to this day in modern Russia. They have a wide variety of names: sometimes according to the song to which they are danced, sometimes according to the nature of the festival or event, or the place where they were performed. But in all these so different dances there is something in common, characteristic of the Russian people, this is the breadth of movement, daring and strength, cheerfulness and mischief, a special cheerfulness, gentleness, lyricism and poetry, a combination of modesty and simplicity with a great sense of nobility and dignity.
Russian folk dance has its own centuries-old history. In the 5th-7th centuries, folk dances were performed in the bosom of Nature in the festivities of "folk games". Their character was imprinted by the ancient Vedic ideas of the world.

For example, in one ancient legend about the Moravian kingdom, the guslar-narrator mentions rafts on the lakes where young people gathered and "danced in circles and played in circles." It is difficult to imagine what kind of dances were performed by the ancient Russians on these unstable rafts.
For the ancient Aryans, basically associated with the Vedic ideas of the universe, dance is an expression of meditation, unity with nature, its continuation, an expression of high feelings of love and the eternal striving for beauty.
In ancient Russian ritual dances, as far as one can judge, the forms of thinking characteristic of the Vedic representation of the world were manifested. Spiritualization of nature by analogy with living beings, the idea that behind every object of nature there is a certain spirit and that every object is alive. Belief in the power of words, rhythm, plastic action, body movement, with the help of which you can influence the power of nature and cause certain results. Harmonization of all natural forces, understanding of the unity and common penetration of all that exists in the entire universe.

Very little has come down to our time, these are already quite late calendar and everyday rituals, which at one time naturally influenced all the creativity of the Russian people.
The purpose of the calendar rituals was a magical effect on the surrounding world, the earth, the forces of nature, caused by the desire to protect oneself from natural disasters.
Family rituals are associated with events in the life of an individual - birth, entry into the period of maturity, the creation of a family, death.
It is difficult to judge what kind of energy forces the Drevlyans-Rusich possessed, how they thought, what they felt. One thing is clear that they were not susceptible to that basic disease of humanity: money and power, power and money. One can only judge this or that, but analyzing those basic postulates and ideas of how the world of the Drevlyans was arranged, one can realize that today's world of folk dance is significantly distorted, changed and departed from its ancient origins, but some (basic origins) nevertheless, they brought a certain charge to Russian culture, which significantly distinguishes it from many cultures of the world.

Great Russian folk choreography

Folk choreography has always been closely connected with the life and development of society, with its economic and social structure, with faith, with the aesthetic requirements of the time.
Each era is reflected as in a mirror in the dance culture of the people. Folklore fills the soul of every person with pride for their people, fosters respect, love and a sense of patriotism.
There is a great variety of Russian folk dance art. Round dances, dances, game and other folk dances amaze with their diversity, richness of movements. In the dance, the people reveal their character, convey thoughts, moods, experiences.
How beautiful and stately are the northern round dances, how swift and fiery the dances of the Don or Kuban Cossacks are! And the spawning, perky Ural quadrille? How much more does Russian dance contain?
In pre-Christian Russia, bright folk games were widespread, which were timed to coincide with the calendar Vedic holidays, for example: Yarilin's Day - the holiday of the Sun, Tausen - New Year, Obzhinki (Ovsen) - harvesting, Kolyada - a winter holiday and various others.
Many of the common character traits for the Russian people - love of freedom, indomitable will, peacefulness, passionate attraction to the arts, striving for beauty, hospitality, openness and gaiety - were especially noticeable in games, dances and round dances.
The majority of Russian writers, poets, musicians, scholars and researchers, simply cultured and educated people treated Russian dance, like all the creativity of the Russian people, with sincere respect and enthusiasm. They strove not only for a deeper knowledge of folk art, but also for an assessment of it. They opposed the foil stylization, against the official "nationality", against the forcible introduction of foreign customs. And they also carefully studied, promoted and, being flesh of flesh grown on the national Russian cultural soil, talentedly improved and developed Russian art.
Derzhavin and Zhukovsky, Pushkin and Lermontov, Gogol and Nekrasov, Turgenev and Tolstoy, Chekhov and Dostoevsky, Tchaikovsky and Borodin, Rimsky-Korsakov and Rachmaninov, Gorky and Tvardovsky and ... (all cannot be enumerated), they all left many enthusiastic lines dedicated to the creativity and, in particular, Russian dance, as the expression of the most intimate, heartfelt and soulful.
“... Grandmother did not dance, but as if she was telling something. Here she is walking quietly, thinking, swaying, looking around from under her arm, and her whole large body hesitates indecisively, her legs grope the road carefully. She stopped, suddenly frightened of something, her face trembled, frowned and immediately shone with a kind, friendly smile. She rolled to the side, giving way to someone, taking someone away with her hand; drooping her head, she froze, listening, smiling more and more merrily - and suddenly she was thrown from her place, whirled around like a whirlwind, all of her became slimmer, taller, and you couldn't take your eyes off her ... ”

The Russian people, who, during their centuries-old tragically beautiful history, have created magnificent epics, wise tales, wonderful weaves of lace, unusual clay products, stunningly interesting and varied wood and bone carvings, colorful wood painting, lovely lacquer miniatures, amazing in beauty and originality jewelry, as well as many rich in content and rhythmically bright lyrical, heroic, wedding, game, dance songs, he also created a bright, amazingly beautiful and open-minded folk choreography.
The German Shtelin (1707-1785) was a renowned researcher of many areas of Russian culture, and in music he is rightfully considered the first researcher and musicologist. His works are the main material on the art of the 18th century in Russia, and here is his phrase: "In all the dance art of Europe, one cannot find such a dance that could surpass the Russian village dance, and no other national dance in the world can compare in attractiveness with this dance!"

Dance and round dance

Whether our ancestors lived at home, whether they worked in the field or in settlements (cities), they always engaged in games, dances, round dances in their free time; whether they were at the "massacre", they always sang their homeland in their epics. Our former guslars, the inspirers of Russian folk poetry, are still visible in the lead singers, round dance and dances. There are people who point us to the past action, but there is no correct indication of when our dances and round dances began. History lies in legends, and all our folk legends speak of the past as of the present, without indicating the days and years. They say that our great-grandfathers and great-great-grandfathers did, but without mentioning, at the same time, neither the place of action, nor the persons themselves.

Dance
Dances-improvisation

Dances-improvisation were very popular among the people. In them, the dancers were not constrained by a certain dance choreographic composition. Each performer was given the opportunity to express himself, to show what he is capable of. Such dances have always been unexpected for the audience, and sometimes for the performers themselves.

Among such dances that have come down to our time and have become famous, but in many respects already commercialized, were the following: "Lady", "Veselukha", "Topotukha", "Pleskach", "Venzel", "Cossack dance", "Gorodetsky gate", "Balalaikas", "Chebotukha", "Siberian fun", "Polyanka", "Zhuravel", "Gusachok", "Timonya", "Valenki", "Chatterboxes", "Whether in the garden", "Circular-dance", " Matryoshka "," Northern Zovyrki "and others.
“Ivan danced amazingly - especially“ Rybka ”. A dance choir will burst, the guy will come out to the middle of the circle - and well, turn, jump, stomp with his feet, and then how the ground will crack - and he represents the movements of a fish that was thrown out of the water onto dry land: and so it bends and that way, even the heels to the back of the head brings ... ".

Dance games

These folk dances can be called play or game dances, since they have a very pronounced playful beginning. In his movements, the dancer did not just imitate the habits of animals or birds, but tried to give them the features of a human character.
There is no dance without an image. If a choreographic image does not arise, then only a set of movements remains, at best an illustration of the event. For Russian folk dance, a meaningful attitude towards life events is typical. Of course, dancers use elements that imitate, for example, gait, flight, animal habits. But this is not just an image, for example, of a bird, but a dance game, where its condition is "dance", in which dexterity, invention and skill in the image triumph.
It is very important that all components are subordinate to the creation of the image of the dance: movements and patterns, that is, choreographic figurative plastic, music, costume, color. At the same time, the expressive means of dance do not exist by themselves, but as a figurative expression of thought.

Dance of the Russian Bogatyrs (Dances of the Russian Martial Art)

Old Russian battle systems (each of the systems, as far as can be judged today) had their own specialized battle dance. We do not know the ancient reliable names of these combat dances, they have changed and transformed over the years. However, in all these dances there were movements with the same definition - "squatting". The squat and plus the sum of the fighting movements used in the dance were the basis of the fighting dance. For "born for good" (Russian warriors), the battle dance was like a place of concentration of light, for "protecting good from evil."
The squatting dance was widespread throughout Russia. In the early Middle Ages, the total number of Russians did not exceed a million, the language was uniform, and communication within the military class was friendly. But the Slavic clan grew, the number increased, peculiarities appeared in the language, culture, variability appeared in the methods of combat, and the previously unified combat dances also changed.

Initially, the squatting technique existed in two forms:

1. As a way of fighting.
2. Like a battle dance.

Squatting fighting methods were widespread among horsemen and were used by infantrymen in clashes with cavalry.

The squat fight included four main levels:

1. Somersaults;
2. Sliders (moving on haunches and all fours);
3. Strikes and movements while standing;
4. Jumps and Wheels.

Somersaults were used mainly as tactical movements and as methods of self-belay when falling.

Sliders are a special kind of movement on the lower level from which you can hit and jump. Weapon attacks were enhanced with kicks and sweeps performed by the legs. Hands placed on the ground provided additional support, they can hold weapons and pick them up from the ground.

Standing blows were applied mainly with feet, since the hands were occupied with cold weapons or firearms. That is why more attention is paid to footwork in the squatting dance.

Squatting movements, changing battle levels, going down and jumping complement the “standing up” technique. In jumping, they were mainly kicked and kicked. They attacked the rider, jumped on their horse and jumped to the ground. Once on a horse, they knew how to run on the backs of horses, inflicting saber strikes, fired from behind the horse and from under its belly, knew how to jiggle (vaulted) and flank (rotation of the weapon with attack and defense of the flanks).

In foot battles, squatting battle was relevant for a warrior who fell to the ground, who found himself alone against many opponents, in cramped or dark conditions. This manner of fighting required good physical training and was very energy-intensive, therefore it was used as a tactical element of combat, alternating with economical technique.

The necessary, specific for this manner of fighting, motor skills and especially endurance and fitness, men developed, constantly practicing in dance and fighting competitions.

Preparing for a battle dance, men often went into the woods from home, sometimes for several days and trained, invented new combinations of dance "knees" unknown to their opponents.
The purpose of the movements in the combat dance was both directly applied and conditionally combat, developing, for dexterity and coordination. Since the combat dance was an information carrier of martial art and a method of training applied movements, it was most widespread among soldiers: Cossacks, soldiers, sailors, officers and was very popular.
We went into battle to the music and dancing. This custom of our ancestors was so well remembered by the Poles that they filmed it in the film "With Fire and Sword" based on Sienkiewicz's book. And for some reason we forgot it!
During the Civil War, the fighting dance continued to live in the troops, both among the Reds and among the Whites. The attacks of the regiments of the Izhevsk and Vodkinsk factories, which fought under the red flag, but against the Bolsheviks, were well remembered by the Red Army. They went into battle to an accordion, with rifles thrown over their shoulders, and soldiers danced in front of the formation. It's hard to believe it, but the Bolsheviks could not withstand such psychological dance attacks and retreated.

Round dances

The importance of Russian round dances for our people is so great that we, for example, except, perhaps, Russian folk weddings, do not know anything of the kind. Round dances occupy three annual periods in the life of the Russian people: spring, summer and autumn. In round dances, we discover the creative power of folk poetry, the originality of age-old creations. And only with this view our Russian culture has nothing like it in the world. Take away from the Russian people lyricism, romanticism, the striving for beauty - poetry, destroy its cheerful open spirit, deprive it of bright, enthusiastic games, and our nationality will remain without creativity - without life. This is what distinguishes Russian life from all other Slavic generations, and from the rest of the world as a whole.
The original meaning of the Russian round dance seems to have been lost forever. We do not have any sources directly pointing to the time of its appearance on Russian soil, and therefore all assumptions remain assumptions.
Near rivers and lakes, in meadows, groves ..., even in wastelands and courtyards - these are the places where folk dances were held, there they got their special names and have kept this right for themselves from time immemorial.
There are festive round dances, there are everyday, household ones. Festive round dances are the most ancient: they are associated with memories of the past, immemorial folk festival.

Russian round dances are distributed according to the season, free days of life and by class. Spring and autumn, two times in which the villagers had the most fun. Taking the division of round dances into spring, summer and autumn, one can see the real picture of Russian life and more correctly track the gradual course of folk customs.

The originality of the Russian round dance lies in the variety of types, in the inseparable connection of its content with Russian reality, in the nature of its performance and existence, in its succession with ancient rites.

The round dance is connected with the rituals by the thematic of choreography. Those round dances, which reflect the labor activity of the people, are justly considered the most ancient. The connection with labor, everyday life, the interests of the people in rituals and in round dances has been preserved to this day. Theatricalization is also inherent in the modern Russian round dance.
Under the influence of time and people, there is a change in the types of round dances. In Russian folk dance, along with game round dances, where individual groups of performers or soloists acted out the plot of the song, new types of round dances also appear: "typesetting", "collapsible" or "adjustable".
The history of the transformation of round dances continues today. Intense spectacular costumisation, theatricalization and stylization, modern soundtrack, light and video effects, on the one hand, this is a great show, but on the other hand, the emasculation of the nationality, or rather Russian folk origins, is taking place. Is this good or bad? There is a "double-edged sword".
Conclusion

Preserving at least what's left. But no one says that everyone needs to get into kosovorotki, pull on sandals or boots, but there is a historical presentation of this or that material and there is a modern interpretation of folk art (as they say today - a "remix", but referring not only to music, but also to dance).
You can treat the present in different ways, but you cannot treat the past with disdain. It is necessary to develop, but you still need to know how it was, and the culture of your people must not only be treated with reverence, but also understand that folk art is what we are. We should learn to understand what is stuck and what is inside under this layer of adhered. But how can this be achieved?
When Russian culture is worthy, when Russian history is worthy, then it makes sense to spend time and address, understand, feel who we really are.
But nevertheless, when you turn to the study of the materials of Russian folk dance, it will be very difficult to understand, where is the truth, and where is falsehood. You look at thousands of pictures, photographs, something else, and you will not find anything that will reveal to you the origins of Russian folk choreography. Turn to museums, to ancient books in libraries, and there will be everything that we call Christian history, and everything ancient Russian has already been densely enveloped by this sticky web.
But maybe we will still find something in ancient Russian fairy tales, in epics, but there is already a lot of superficial, distorted. But then let the heart tell us what is real and what is alien.

Content
Introduction ……………………………………………………………………… page 2
Chapter 1. The emergence of Russian folk dance
1.1. The origins of the forms of Russian folk dance …………………………… p.3-4
1.2. Development of forms of Russian folk dance ………………………… ..p.4-5
Chapter 2. Characteristic distinctive features of the forms of Russian folk dance
2.1. The main genres of Russian folk dance ……………………… p.5-8
2.2. Music and costume as integral parts of a whole …………………… p.8-11
Conclusion …………………………………………………… …………… page 12
References ………………………………………………………… p. 13

Introduction
Dance is the most ancient and richest form of art: very interesting, multifaceted, vivid, carrying a huge emotional charge. Folk dance is the ancestor of all directions of dance, which have been formed on its basis for many centuries, this is classical, and historical, everyday, and pop, and modern dance. Fashion and the passage of time could not affect him, and then more to make him disappear completely from the face of the Earth, because he carries the history of the people who created him. Each generation sacredly keeps the memory of their ancestors and protects everything that reflects their life.
In this regard, folk dance has become an invaluable treasure showing everyday life, basic occupations, traditions, events in people's lives. Studying folk dance, we travel the planet. Thanks to this art form, you can visit any corner of the world, get acquainted with the history of this region, learn the national characteristics of this territory, and for this it is not at all necessary to swim across the ocean to overcome great distances. Many people have devoted their lives to studying folk dance. Many books have been written about their discoveries.
Looking at people who have been dancing for more than one year, I often ask myself the question: "What is included in the concept of" dance "? Maybe it's just a set of movements or something more?" I will try to find the answer to this question in several sources.

Chapter 1
1.1 The origins of the forms of Russian folk dance
Russian folk dance is one of the most widespread and ancient types of folk art. It arose on the basis of human labor activity. In the dance, the people convey their thoughts, feelings, moods, attitudes to life.
The development of Russian folk dance is closely related to the entire history of the Russian people. Each new era, new political, economic, administrative and religious conditions were reflected in the forms of social consciousness, including in folk art. All this brought with it certain changes in the life of the Russian people, which, in turn, left an imprint on the dance, which underwent various changes over the centuries-old path of its development.
Russian folk dance is a bright, colorful creation of the people, which is an emotional artistic specific reflection of their life, character, thoughts, feelings, aesthetic views and understanding of the beauty of the surrounding world.
Russian folk dance has developed in various directions. In pagan times, it was a necessary accessory for cult rites. These dances have long kept traces of everyday life, there and religious beliefs. But as the primitive communal system disintegrated, in connection with the division of labor and the growth of cities, dancers, professional songwriters and performers of music, songs and dances, emerged from among the people.
Russian dance was born in 907, at a festival at the Prophetic Oleg, where dancers disguised as bears and vice versa performed. Dances with bears are considered traditional in Russia.
Russian Folk Dance has its own centuries-old history. In the 5th - 7th centuries, folk dances were performed in the bosom of "merrymaking" (gatherings). Their character was imprinted by ancient pagan ideas.
The adoption of Christianity contributes to the development of culture, and folk art is expressed in buffoonery. Buffoons played a huge role in the development and popularization of folk dance. It was at this time that stage forms of folk dances were born.
In the middle of the 16th century, the growing influence of the Russian Church negatively affected folk art. Seeing the remnants of paganism in folk songs and dances, the church oppresses musicians, dancers and singers, and in the 17th century Alexei Mikhailovich issues a decree on the persecution of buffoons.
The eighteenth century is an era associated with the name of Peter I, a brilliant reformer. During this period, serious changes took place in the culture: dance acquired a more secular character. And only among the people is Russian dance not only preserved, but also developed, taking on new varieties.
After the October Revolution, professional dance ensembles, as well as amateur groups, became a new manifestation of the people's dancing creativity. Amateur performances have become a kind of successor and continuer of the traditions of Russian folk choreography. If earlier Russian dances were performed mainly at festivals, games, weddings, now they occupy a large place in the repertoire of professional theaters.
It is difficult to determine how many folk dances and dances there are in Russia. It is simply impossible to count them. They have a wide variety of names: sometimes according to the song to which they dance ("Kamarinskaya", "Seni"), sometimes according to the number of dancers ("Steam room", "Four"), sometimes the name determines the pattern of the dance ("Wattle", "Vorottsa" ).
But in all these so different dances there is something in common, characteristic of Russian dance in general: it is the breadth of movement, daring, special cheerfulness, poetry, a combination of modesty and simplicity with a great sense of dignity.
1.2. Development of forms of Russian folk dance
The 18th century was marked by the emergence of a new state - the Russian Empire. This era is associated with the name of Peter I - a brilliant reformer of his time. Serious cultural transformations have also taken place. The traditions of Russian dance have been alive at all times. It was danced at the court, and the dance in the provinces remained in the flesh until the 20th century. Russian folk dance art is gradually changing. The dance takes on a more secular character. Popular European dances became popular at the court: French square dance, minuet, polonaise and others. In the first half of the 18th century, the central dance was the minuet, which came to the court of Russian performers, since he demanded to perform exactly those features that are inherent in a Russian woman: plasticity and her natural modesty, softness and expressiveness of dance. And only among the people Russian dance has not only survived, but is also developing, taking on new varieties. Thus, as a result of the influence of Western salon dances, a square dance, a polka, etc. appear in Russian everyday life. Once in a village, they radically change, acquire typically Russian local features, manner and character of performance, only remotely resembling their Western counterparts.
At the same time, serf ballet appeared in Russia. Born in manor houses, it reached a high artistic level by the end of the 18th century. Since there was no theater in the province yet, serf troupes objectively served educational purposes. Rich noblemen, inheriting vast lands, owning thousands of peasant souls, arranged a miniature state for themselves. In imitation of the capitals, a serf theater also arose.
Initially, serfs performed folk dances for their masters. One of the memoirists of the era tells how, having visited a manor house in the Pskov province, he saw such "village dances". The dancers of the serf ballet, even when they became real "dancers", carefully passed on to each other the tradition of the national dance. This largely depended on their living conditions. Firstly, getting into the atmosphere of the landowner's "ballet school", they kept in touch with their native village, with its songs and dances. Secondly, they rarely broke away completely from their environment, working in the field and in the manor house on an equal basis with other serfs. Thirdly, serf ballet actors only rarely had foreign teachers and directors.
The future Russian dance schools were born in the depths of general educational institutions not associated with the theater. The St. Petersburg gentry corps, established in 1731, prepared Russian youths for military and government service. They were taught many subjects, including dancing. They practiced choreography 4 times a week for 4 hours. Here in 1734 J. Lande was invited to the position of dance master. 1
From the beginning of the 19th century, the meaning of the term character dance began to change. It was called semi-characteristic, and the definition of characteristic passed to folk dance. This meaning of the term has been fixed until now. The characteristic dance of the 19th century differed from the folk dance in that it had not an independent, but a subordinate meaning.
In the 19th century and at the beginning of the 20th century, the concept of "characteristic dance" was used to denote a theatrical everyday dance in character, both salon and public.
Subordinating the folk dance to a certain content, the characteristic dance selected its most significant features and, enlarging, modifying the main thing, omitted the insignificant. This selection was logical. It made it possible to convey in the dance the spirit of historical eras and the specific circumstances of the action of the given performance, the features characteristic of the whole nation, and the distinctive features of the character. Therefore, on the basis of the same folk dance, you can create several characteristic dances that are not very similar to each other.
The place and role of characteristic dance in ballet either expanded or narrowed, in accordance with the aesthetic requirements of a particular era. It could be the effective basis of the entire performance, could fall out of action, retaining only the rights of the insert number.
The main danger that lay in wait for the characteristic dance from the very beginning was the loss of folk content and style.
From the very beginning, there were two trends in character dance. One based on creative closeness to the folklore primary source, seeking to convey its meaning to the artistic nature; the other is decorative, stylistic. Both tendencies influenced the fate of Russian character dance in the continuation of its entire pre-revolutionary history, unmistakably giving out the general state of the ballet repertoire of one time or another.
2.1. The main genres of Russian folk dance
For folk dance, organic content, movement, music and costume are indispensable.
Today both old and new dances not only coexist side by side, but also mutually influence each other, creatively enriching and thus developing Russian folk dance. The study and recording of Russian folk dances began relatively recently, and after all, any science begins precisely with a description of the various aspects of the subject under study, and most importantly, with the collection of material, on the basis of which a complete idea of \u200b\u200bthe subject under study can be created. And the more thoroughly the subject is studied, the deeper, truer and more artistic the work will turn out. This is the eternal law of art. Therefore, it is necessary to record, shoot and photograph dances as much as possible, especially the manner in which they are performed, sketch costumes, etc. In other words, to collect facts that could be systematized and used as the basis for the study of Russian folk dance. For this, we will make a comparative analysis of the existing forms of Russian dance folk art.
When classifying Russian folk dance, defining its types, we take as a basis not the performance of the dance on certain holidays or seasons, but their choreographic structure, their stable features. Russian folk dance is divided into two main genres - round dance and dance, which in turn consist of different types.
Round dance
The basis of the round dance is the joint performance of a round dance song by all its participants. Dance, song and round dance are inextricably and organically linked. The round dance brings together and gathers a large number of participants. A round dance is a massive folk action where dancing, or just walking, or playing are inextricably linked with the song. Round dances have a cult-ritual, social and everyday theme.
The participants in the round dance, as a rule, hold hands, sometimes a scarf, shawl, belt, wreath. In some round dances, the participants do not hold hands, but move one after another or side by side, keeping a strict interval, sometimes they go in pairs.
The round dance is widespread throughout Russia, and each region brings something new, creating variety in style, composition, character and manner of performance. Round dances are performed at a slow, medium and fast pace.
But in different regions of Russia there are local peculiarities of the performance of round dances associated with natural and climatic conditions, with the specifics of everyday life and work, human relationships formed in different living conditions. These features are manifested both in the composition of the performers, and in the rhythm, and in the content of the songs to which the round dance goes, and in the manner of performance inherent only in this area. The performance of round dances is also influenced by the variety in costumes, which in different areas differ significantly from each other and are sometimes very far from the generally accepted "Russian sundress" to which we are so accustomed on stage.
Figures are of great importance when staging round dances. The figures can be formed by girls alone, or boys, or boys and girls together, which can be arranged in various ways. These figures will be discussed in more detail in the next chapter.
Dance
In ancient times, dances were of a ritual, cult nature, but over time they acquired a household one. Dance is the most widespread and favorite genre of Russian folk dance.
The dance was born in a round dance and came out of it, breaking the round dance chain, complicating the technical basis, creating its own forms and patterns, replacing the round dance song with a dance song and various musical accompaniment. The dance can express various states of a person. The dance consists of a number of separate movements - elements that differ in their characteristic manner of performance, have a Russian national flavor. Every movement in the dance is filled with meaning. A variety of movements, the number of which increases many times due to the improvisation of performers, are a characteristic feature of Russian dance. The Russian dancer has very expressive arms, head, shoulders, face, hands, etc. Dance makes it possible to reveal personal, individual character traits. Boys and girls, men and women, teenagers and the elderly can participate in the dance. The male dance is characterized by breadth, scope, prowess, strength, attention and respect for the partner. Women's dance is characterized by majesty, smoothness, nobility and sincerity, but often it is performed vividly, with enthusiasm.
Each dance has its own content, plot. One of the distinctive features of the dance is individual improvisation. The dance is different from the richer round dance
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