The Art of Dancing
The process of recreating the Kyrgyz folk dance continues today. The lack of qualified resources for studying Kyrgyz dance and the ongoing process of accumulating and mastering dance elements presents significant challenges for choreographers and folk dance enthusiasts. At the same time, there is an intensive enrichment of the dance "vocabulary." Here, cinema and television play an active role, along with creative exchanges between artists and participants of amateur performances with the fraternal republics of our country, and numerous tours of amateur artistic groups and individual performers abroad.
The artistic and creative level of several dance groups and individual performers is so high that it allows them to include complex dance compositions and individual dances in their repertoire, which require certain technical and acting skills. That is why we have included in this book, alongside simple, technically uncomplicated dances, more challenging choreographic compositions.
It is also necessary to say a few words about the art of dancing itself. Dances, including ballroom dances, require certain preparation and training in dance technique for their execution. Studying this technique is essential for dancers to understand the meaning and beauty of each dance more deeply, to make their performance natural and beautiful, and, at the same time, to derive pleasure and enjoyment from the dance steps being performed. Moreover, one must possess the plasticity of a dancer, and for that, it is necessary to learn to dance, not just to study specific dance compositions.
Our time is marked by an increased interest in various types of choreography — folk dances, classical and contemporary choreography, ballroom dances. In palaces and cultural houses, clubs, and parks of culture and recreation, general education schools, secondary specialized vocational schools, and higher educational institutions, tens of thousands of discos and various amateur artistic groups, folk ballet theaters, studios, schools, and ballroom dance ensembles have been created and are actively working. Their participants study the basics of classical, historical, and folk dance during training sessions. On this basis, they create new modern ballroom dances and widely promote them. Essentially, in the process of creating dance art, both professional choreographers and artists of amateur artistic groups, as well as simply dance enthusiasts, participate, often without noticing or realizing it.
Ultimately, it depends on all of us which dances will become examples and standards of choreographic art over time and enter the treasury of world culture, and which of them are destined to be temporary, fleeting phenomena.
It should be emphasized that practical activity in this work is of primary importance. Thus, in the mid-1960s, a ballroom dance school was founded in Frunze under the guidance of ballet teacher Evgenia Grigoryevna Shcherbanyuk. Students, schoolchildren, workers, and teachers attended it. Based on this school, the "Nazgul" studio and a ballroom dance ensemble were organized, the participants of which have now created numerous ballroom dance schools in the republic and are conducting serious work on the aesthetic education of the working population. Republican competitions in modern ballroom dance are regularly held, featuring professional masters of modern ballroom dance from Moscow, Leningrad, Riga, Tashkent, Almaty, Karaganda, and other cities of our country.
These exciting festivals of folk creativity always gather a huge audience of spectators and supporters, enthusiastically welcoming the amateur dancers.
Artistic Activity of Bibisara Beishenalievna. History of Kyrgyz Folk Dance. Part 8