THE UKRAINIAN DANCE ON THE STAGE AND IN THE HOUSEHOLD CULTURE OF THE NATION: CURRENT ISSUES

INTRODUCTION The construction of a modern society in post-colonial Ukraine has peculiarities in the aspect of culture, in particular choreographic, due to historical factors. Describing the XIX century as a unique period of national history, G. Skrypnyk emphasizes: “The decisive role in the preservation of ethnicity and in the national solidarity processes of the society was played by ethnic culture, which came under this time a fully developed, holistic system with peculiar characteristic features of its genres and artistic and stylistic characteristic” 1 . The artistic values of ethno culture were largely preserved and developed in the folk-stage choreography of the Soviet era, when, by changing ideological accents, the government tolerated the populist traditions of the XIX – early XX centuries. In the era of state independence, Ukrainian choreographic culture entered, preserving the rich artistic heritage of the past, often lost by developed countries of Western Europe. The new cultural reality is characterized by the overcoming of the ethnography inherent elements in the populist approach, as well as the rudiments of the leveling national identity of the “socialist realism method”, but the scientific community has not yet developed a consolidated opinion on the role and place of folk choreography in a modern model of the culture. This leads to a deeper study of the problem of preserving and developing the national choreographic heritage in the context of the leveling impact of globalization, and leads to the idea that the answer to the question: “What is contemporary choreography?” foreign dances, but also in the complex interaction of traditions and innovations, ambiguous, diverse and multifaceted transformation of folk dance, in general, the transformation of cultural codes and regional and local cultural canons. Turning to the corner in choreology problem of the traditions interaction and innovations, Ukrainian researchers reject unilateral approaches; in particular, formed in Soviet art studies under the influence of ideological factors, interpret the dialectics of the interaction of traditions and innovations as the driving force