Ballroom choreography of the XX century in the Baltic countries

T. S. Pavliuk
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Abstract

The purpose of this article. The purpose of the article is to analyze the historical processes of the development of ballroom choreography in the Baltic countries in the XX century. The methodology. The following methods were applied in the work: historical and historical-genetic — in order to understand the genesis, the specifics of the processes of development of ballroom dance; source study — for the selection and processing of sources related to the art of ballroom dancing; comparative — to compare the historical periods of the evolution of ballroom culture; included observation — to view individual choreographic works and their preliminary comprehension. The scientific novelty. For the first time, an attempt was made to study topical issues of the development of ballroom choreography in the Baltic countries in the XX century. The results. The Baltic republics became the center of the development of Soviet ballroom choreography, because ballroom practice existed here even before World War II as part of local traditions. The first choreographic organizations arose here, in particular, the Estonian Dance Union (1930). In the post-war period, local and international ballroom dance tournaments were held at a high level in Estonia, Latvia and Lithuania. A generation of outstanding ballroom dancers has formed in Riga, Tallinn, Vilnius, Klaipeda and other cities. In the Baltic republics, the “Soviet program” of ballroom dancing did not become popular: due to the lack of strict party censorship that exists in other Soviet regions, local dancers developed as performers of the European and Latin American programs. Conducting seminars and master classes in different republics of the USSR, they served as conductors of high standards of world ballroom choreography in the Soviet Union. The collapse of the USSR led to significant socio-cultural transformations and the beginning of a movement towards European integration, the Baltic countries, like other former Soviet republics, began to actively join the world traditions and trends of ballroom choreography.
二十世纪波罗的海国家的舞厅舞蹈
这篇文章的目的。本文旨在分析二十世纪波罗的海国家交际舞发展的历史进程。方法论。本研究采用了以下方法:历史遗传学和历史遗传学——以了解交际舞的起源、发展过程的具体情况;来源研究——用于交际舞艺术相关来源的选择和处理;比较——比较交际文化发展的历史时期;包括观察——观察个体舞蹈作品及其初步理解。科学的新颖性。首次尝试研究二十世纪波罗的海国家交际舞发展的热点问题。结果。波罗的海共和国成为苏联舞厅编舞发展的中心,因为早在第二次世界大战之前,舞厅就已经作为当地传统的一部分存在于这里。第一个舞蹈组织在这里兴起,特别是爱沙尼亚舞蹈联盟(1930年)。战后,爱沙尼亚、拉脱维亚和立陶宛举办了高水平的地方和国际交际舞比赛。里加、塔林、维尔纽斯、克莱佩达等城市已经形成了一代优秀的交际舞演员。在波罗的海共和国,交际舞的“苏联项目”并没有流行起来:由于缺乏其他苏联地区存在的严格的政党审查制度,当地舞者发展成为欧洲和拉丁美洲项目的表演者。他们在苏联不同的共和国举办研讨会和大师班,在苏联担任高标准世界舞厅编舞的指挥。苏联的解体导致了重大的社会文化变革和欧洲一体化运动的开始,波罗的海国家和其他前苏联共和国一样,开始积极加入舞厅编排的世界传统和趋势。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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