The scientific novelty lies in the fact that the work is, the first in Ukraine, a comprehensive study of the choreographic culture of boycos in the Precarpathians of the late XX – early XXI centuries.
The dissertation consists of three sections. The Introduction substantiates the relevance of the subject under study, the object and subject of the dissertation, the task, the methodological principles, the scientific novelty and the practical significance of the results obtained, the forms of its testing and the publication of the research provisions, and the structure of the work are substantiated.
Despite the fact that folk dance is studied and «restored» by choreographers of the present, nevertheless, the attitude towards professional dance art remains relevant. Having outlined the scientific-theoretical and methodological paradigm of studying the problem, which is based on general and special methods of cognition in the field of art studies, the terms and concepts are clarified and supplemented, including «choreographic culture», «dance», «folklore», «folklore studies», «folk dance», «ethnic choreography», «folk-stage dance»and the author’s term «Boykivski zabavy.
Methods are applied: historical-chronological (for determining the chronological boundaries of the study of the development of the Boyko dance in the Precarpathians of the late XX – early XXI centuries and historical aspects of the development of the boyko culture, the origin of the boycotts); classification and typology (for generalization of the theory and concepts available on the subject of this study); comparative analysis . In the second chapter «Continuity and innovations in the works of the outstanding choreographers and ethnographers of the Ivano-Frankivsk region» described the study of the ethno-choreologist R. Harasymchuk, who came up with the scientific approach to the origins of the choreographic culture of boycotts. It is noted that his research on the study of boykos folklore is a key element. An analysis of creativity of choreographers of boyko dance in Ivano-Frankivsk region is made. Their influence on the development of the choreographic culture of Precarpathian, which is an example for leaders of choreographic groups and teachers of Ukrainian dance, is determined. The combination of folk art, interesting dance styles, musical material and costumes are complemented by choreographic compositions of artists, which makes them unique and emphasizes the peculiarity of the dance culture of the Precarpathian region.
In the third section «Scene-choreographic experience in the context of development of boyko dance in the Precarpathian region» an analysis of folk dances has laid the foundations for the emergence of modern folk-stage dances with complex elements, virtuoso techniques and tricks. The stylistic features of the choreographic culture of boys are determined. It was stated that boyko folklore dance is the first basis for the creation of folk-stage choreographic staging. A new method of stage treatment of boyko folk dances of the end of the XXth – beginning of the XXI century, based on folk material of Ivano-Frankivsk region, was developed. The stages of research work of scenic processing of the author's choreographic production «Boykivski zabavy» are described. The basic (music, compositional construction of dance, performing skill) and auxiliary means (costume, attributes) of boyko dance are enriched. This research is just the first attempt of a systematic analysis of boyko choreographic culture at a certain stage of its development and can not qualify for exhaustive analysis. In particular, it requires further study of the problems associated with the functioning of boyko choreographic art in market conditions; an organic combination of modernization processes of dance art with the need to preserve original national choreographic traditions in the context of globalization processes.
