Director’s Interpretation of Kazakh Dance: Development Trajectories in the Perspective of Creativity

Abstract

The study investigates the director’s interpretations of Kazakh dance in the perspective of creativity on the example of works dated the last quarter of the 20th – early 21st century to determine the choreography’s development vectors with taking into account the aspect of creativity. This research is based on the small and large dance performances analysis. The study relevance lies in the fact that it can become a tool for determining the expression level of the national aspect in Kazakh dance art. The results of the study show the role of creativity in the dance education and its ffectiveness in the development of Kazakh dance art. This tool is necessary for the choreographer’s worldview theoretical analysis and his/her dance interpretation, for the Kazakh choreography subsequent enrichment, and preservation of Kazakh historical identity.

Comparative Analysis of Aesthetic Emotion of Dance Movement: A Deep Learning Based Approach

“…The structure has always been adopted by most dance choreographers and directors. It is why some people call it a traditional structure [ 24 ]. The interlaced structure of dance is a way to break the natural sequence of real-time and space and use the change of the characters' psychological activities as the thread of arranging the characters' actions and unfolding the plot events.…”

Integration of Experience and Achievements in the Development of Performing Skills of Kazakh Dance in Higher Education Institutions of the Republic of Kazakhstan

“…In accordance with researchers A. Kussanova et al (2021) when creating a choreographic image, the choreographer themselves, choosing vocabulary for staging Kazakh folk dance, should necessarily synthesise the movements vocabulary in accordance with the dance context and the performance accents themselves. Experience and achievements integration in the development of performing skills for Kazakh dance performance is based on the teaching principles: availability and reasonability when choosing the main choreographic elements in choreography, combination and well-coordinated composition of the relationship of folk dance with musical accompaniment, song, literature, and fine arts, subtle perception of traditional folk compositions with modern compositions of the art of dancing.…”

“…The choreographic text composition of the folk dance of Kazakhstan itself takes a significant place in the staging and further performance of the choreography. In accordance with Kussanova, Tleubayeva, Nikolayeva, and Shankibayeva (2021), in their study of the director's interpretation of Kazakh dance, dance vocabulary, which is built on traditional postures and classical movements, forms a choreographic text, which is transformed into the symbiosis concept of traditional dance and contemporary choreography. Studying gained experience and achievements in the development of the performing skills of Kazakh dance, it should be noted that teaching dance art faced the same problems as other areas of life worldwide.…”