Musical movement: lifestyle, the reality of non-traditional art, the space of learning and self-education (three comments on the concept of Aida Aylamazyan)

Abstract

The article describes and comments on the concept of the musical movement, the main ideas of which were formulated and substantiated by Aida Aylamazyan, psychologist and head of the Center for the Musical Movement "Heptahor". The author believes that in this case we are dealing with one of the new forms of experimental life, which in a peculiar way combines an unconventional art form (serious music and dance), a new way of life, partly opposing the established sociality, contributing to the formation of a new personality, as well as an organic symbiosis of alternative learning and self-education. The peculiarities of the practice of musical movement are characterized. The position is formulated that the musical movement demonstrates a new vital and artistic reality in which music is structured (articulated) by the dance movement, and dance is music.   Two ideological turns (psychological and social) and the problem of a new anthropological synthesis, which contributed to new ideas and ideas, are considered. Aylamazyan needed an anthropological synthesis in order to comprehend the practice of the musical movement. It includes three areas of work: criticism of ballet as an example of the traditional understanding of dance and the person in it; characterization of the specifics of a new, free dance and its formation; the concept of a person who meets the practice of musical movement. The latter includes four conceptual ideas: 1) a new interpretation of the relationship between music and dance movements as two sides of one whole, 2) relates dance movements and the experience of music to the individual and partly to the dance community, 3) includes the practices of musical movement in a broader whole of culture, sociality, art, 4) interprets the practice of musical movement, including as learning and self-education processes.