Kaimo kultūros atspindžiai tautiniuose šokiuose

LTDaugiau nei šimtmetį gyvuojantis tautinis šokis iki šiol turi labai skirtingus vertinimus, šis choreografinis žanras turi nemažą bendraminčių, beje, ir kritikų būrį. Straipsnyje, aprašant svarbiausius tautinės choreografijos istorinius faktus, aptariama tautinio šokio raida. Choreografiniai pokyčiai aptinkami ir choreografinėje terminologijoje, ir pačiuose kūriniuose (tautiniuose šokiuose). Didžiausi, svarbiausi tautinių šokių koncertai vyksta Dainų ir šokių šventėse, todėl straipsnyje nagrinėjamas tokio renginio tautinių šokių repertuaras. Analizuojant šventėje šoktus šokius, siekiama atskleisti choreografinių kūrinių turinį. [Iš leidinio]Reikšminiai žodžiai: Choreografija; Dainų ir šokių šventė; Kaimo aplinka; Kaimo kultūra; Tautiniai šokiai; Choreography; Dance Festival; National dances; Rural culture; Rural environment; Song and Dance Festival.

ENThe purpose of the article is to reveal choreographic narrative of national dance and to specify the contents of such works. The event of the Song and Dance Celebration called "Graži Tu, Mano Brangi Tėvyne" (Engl. You Are So Nice, My Dear Motherland) dedicated to the 150th anniversary of Maironis and the repertoire of the concert was chosen for the analysis of the national dance. The event took place on June 2nd, 2012. An attempt was made to pay attention to the choreographic pieces currently performed by the dance groups of the city. The event of the song festival is analysed not accidentally. Such events are the most important venues for performances of national dance groups. Tradition of song and dance celebration has been acknowledged as intangible cultural heritage masterpiece since 2003 and the tradition of the celebration in Estonia, Latvia and Lithuania has been included in the list of intangible cultural heritage of the humankind since 2008. Song and dance celebrations are organized on the national level as well as in individual Lithuanian cities and different regions. The celebrations differ in the age of the participants: pupils participate in pupils' song and dance festivals, and the last one in 2012 also featured children from Vilnius kindergartens; students from the universities of three countries (Lithuania, Latvia and Estonia) participate in Gaudeamus celebrations; participants of different age groups participate in Lithuanian song festival whereas Lithuanian groups from all over the world are invited to perform here.Despite the fact that several events of the Song and Dance Festival took place this year (for example, national pupils' song festival called "Our Name is Lithuania" took place on July 4th-8th in Vilnius; it featured the pupils from various Lithuanian locations; Kaunas regional Song and Dance Festival featuring participants of various age groups from Kaunas area took place in Kulautuva on June 9th), Kaunas city song and dance festival was chosen for the analysis. An attempt has been made to pay attention to the repertoire of the national dance groups of the city and to discuss national dances performed by dancers of various age groups. Choreographic content in national dances is the object of the research. Special attention has been paid to national dance groups which currently exist, perform and present the form of art in Kaunas and to their repertoire. Development of the national dance and ambivalent attitude towards the form of art are discussed in the article while describing the most important historical facts of the national choreography. Choreographic changes are found both in the choreographic terminology and in the works of art (national dances). Lithuanian dances meant for spectators had different names throughout the decades. Choreographers tried to emphasize differences of dances and specify peculiarities ofchoreographic works by tagging them "national dance", "national stage dance" or "folk dance". Works currently performed in song festivals have been adapted, given style or newly created for spectators during various decades. [...]. [From the publication]