In the dissertation, a cultural analysis of folk dance of Volyn is carried out in
the context of cross-cultural interaction based on an interdisciplinary
methodological strategy. The topic and methodological guidelines of the study
were chosen due to the fact that, in the context of the contradictory impact of globalization on sociocultural processes, the study of modern transformations of
traditional culture, ways of its preservation and new forms of correlation of
tradition and innovation in the conditions of intensive intercultural contacts is
becoming more relevant. The methodology of the analysis of intercultural
interaction needs rethinking, particularly in the sphere of folk dancing art. Since
such form of interaction is most intensively manifested in the area of the cultural
border, scientific interest in the frontier phenomenon is growing, in which
contradictory tendencies of mutual attraction and mutual repulsion of cultural
traditions coexist.
The methodological basis of the dissertation form the theoretical approaches
of cultural anthropology of F. Boas, M. Mead, R. Benedict, C. Lévi-Strauss, etc.;
ethnocultural anthropology of dance by G. Kurath, J. Kealiinohomoku, A. Royce,
S. Youngerman, etc.; of choreology and ethnochoreology - scientific works of
spouses R. and J. Benesh, R. Laban, T. Nowak and others, as well as Ukrainian
researchers V. Verkhovynets, V. Avramenko, R. Harasymchuk, A. Humenyuk,
K. Vasylenko, Yu. Stanishevsky, O. Chepalov, O. Manshylin, D. Sharykov,
I. Mostova, N. Marusyk, L. Shchur and others.
The concept of archetypes by K. G. Jung and the theory of cultural
archetypes developed on its basis by S. Krymskyi, as well as the conceptual
models of cultural regionalism by V. Lychkovakh are of important methodological
importance for the research. The analysis of the communicative nature of dance art
is based on the theories of intercultural interaction and cross-cultural
communication developed by E. Hall, G. Hofstede, J. Murdoch, D. White,
N. Luhmann. Semiotic approach was used to highlight the communicative
potential of dance art.
The scientific novelty of the research results is based on that for the first
time the development of Volyn folk dancing art was analyzed in the context of
cross-cultural interaction based on the synthesis of cultural-anthropological,
choreological and ethnocultural approaches; it is substantiated that the
ethnocultural study of dance can become the theoretical and methodological basis of the interdisciplinary synthesis of the scientific traditions of the European school
of ethnochoreology, on the one hand, and the American scientific school of
cultural and anthropological studies, on the other. The analysis of dance as a
sociocultural phenomenon has been expanded, the scientific and source base of the
study of Volyn folk dancing art has been complemented and systematized. The
explanation of such concepts as "intercultural interaction", "cross-cultural
influences", "cultural code", culturological and ethnochoreological aspects of the
theory of the cultural frontier, as well as semiotic approach to the study of dance as
a communicative process received further development.
It was determined that the systematic study of cross-cultural influences in
the development of folk dancing art should be based on an interdisciplinary
methodological strategy. The optimal form of such a synthesis can be reached in
ethnocultural studies, which examine the worldview orientations and mental
features of a certain ethnic group, and consider local artistic phenomena in a wider
sociocultural context. Its interdisciplinary nature enables the integration of various
scientific and research approaches to the study of ethnic and regional specifics of
dance art, its stylistic and lexical features, and also enables the identification and
investigation of factors that determined the dynamics of choreographic traditions
and innovations.
According to these methodological guidelines, dance is conceptualized as an
important sociocultural phenomenon, in which the basic elements of sociocultural
reality are represented symbolically. At the same time, it is emphasized that dance
not only reflects sociocultural processes, but also influences them. It influences
individual human beings (first of all, their psycho-physical and emotional state,
socialization, cultural identity), as well as society, implementing important
sociocultural functions: ritual, social, communicative, psychological, educational,
therapeutic, aesthetic, etc. These functions are inherent in dance at all stages of its
historical development, but their hierarchy changes historically.
It is validated that one of the fundamental characteristics of the sociocultural
nature of dance is its communicative potential.
