HOME AS A COMPONENT OF CULTURAL MEMORY IN CONTEMPORARY CHOREOGRAPHY DURING THE WAR FOR UKRAINE’S INDEPENDENCE

Abstract

The aim of the article is to provide a cultural reception of contemporary choreography as a strategy for forming cultural memory using the theme of home as an example.
The methodological basis of the study is a cultural approach, which ensured the cross-disciplinary involvement of historical, semiotic, comparative, and terminological methods, as well as the analysis of audiovisual sources.
Results. It has been determined that contemporary choreography is a commemorative practice due to its ability to represent individual experience, social values, and artistic trends through artistic imagery in accordance with dance techniques and styles. It is emphasised that ballet performances at the present stage tend towards synthetic form and experimentation, and therefore are a component of contemporary choreography and correspond to the Ukrainian nation’s need to form cultural memory. It has been established that in contemporary artistic representations, the presence of home as a cultural universal that shapes worldview can be traced.
The traditional interpretation of the archetype of home varies from a physical dwelling and native land to a sense of security and connection with the community, organizes the value scale and develops the space of material culture. It is noted that the Russian-Ukrainian war has added to the semantic range of the image of home an identity with the body and faith in the future. The identification of the essential features of home as a category of culture in contemporary choreography, using the examples of the ballet performances «Moses» (OSDC Dance Theatre) and «D.I.M.» (Insha Dance Company), has shown its emblematic nature, combined with the cultural memory of the Ukrainian nation through the experience of trauma. It is noted that the transition of the category of home from the material to the existential dimension is part of the overall process of transformation of artistic and artistic receptions of home through the russian-Ukrainian war. Home is represented by means of choreographic expressiveness as an idea, bodily practices and movement. It is noted that home as an idea fits into the triad «home – non-home – anti-home». Bodily practices are a recreation of the lost home through active memory. Movement is a manifestation of the strength of the community as a recreation of home in foreign conditions and social practice, therefore it is accompanied by hope and becomes a source of life, performing a culture-creating function.
Scientific novelty lies in the cultural reception of the artistic representation of the archetype of home as a category of commemorative practices of the Ukrainian nation, using the example of the ballet performances «Moses» and «D.I.M.».
The practical significance lies in the application of the research results to teaching, scientific and educational activities in the fields of cultural studies, art history and choreography.