PLASTIC MOTIVES OF AFRO-JAZ DANCE IN THE PRODUCTIONS OF CONCERT DANCE NUMBERS

Abstract

The purpose of the article is to identify the features of the use of plastic motifs of Afro-jazz dance in the productions of concert dance numbers at the current stage of the development of choreographic art.
Research methodology. The method of analysis and synthesis, the method of typological analysis, the historical and cultural method, the method of art history analysis and the method of theoretical generalization were applied.
Scientific novelty. The features of the use of choreographic vocabulary of Afro-jazz dance and modern dance in modern productions of concert dance numbers were studied. It was stated that Afro-jazz dance is an organic synthesis of authentic African ethnoculture and jazz choreography and has gained popularity throughout the world thanks to stage performances, dance master classes and cultural practices. It was found that concert dance numbers in the vocabulary of Afrojazz dance are a stage dance built on the innovation of a specific technique, which is expanded by the principles of modern dance. Jazz pirouettes on plié in this style are combined with purely African clapping, shaking or freehand, not designed in either classical or jazz positions; the emphasis is on down-to-earth movements, polyrhythmic patterns and expressive use of the torso. It has been found that the fundamental technical techniques that were isolated from folk dance and designed into a technique, their semantic load and natural sources are fundamental in the plastic motif. The plastic motifs of modern concert dance numbers of Afro-jazz dance are representatives of the cultural and spiritual aspects of life inherent in African folk dances, which arose as a result of the reflection of the choreographer-director and performers. It is emphasized that despite the variability of the choreographer's authorial approach to the composition of a concert dance number, the common feature of the plastic motifs of Afro-jazz productions is adherence to African aesthetics, the fundamental elements of which are: play and improvisation, ephebism, pulsating rhythm, polyrhythm, polycentric body, etc.
Practical significance. Certain aspects and conclusions of the study can be used in further scientific development of the issues of using plastic motifs of Afro-jazz dance in stage productions.