THE ROLE OF JAZZ DANCE MASTERS HERITAGE IN MODERN CHOREOGRAPHIC SPACE ; РОЛЬ СПАДЩИНИ МАЙСТРІВ ДЖАЗОВОГО ТАНЦЮВ СУЧАСНОМУ ХОРЕОГРАФІЧНОМУ ПРОСТОРІ
The article deals with the history of the jazz dance, main representatives and pioneers of the art movement, their creative heritage and achievements. Nowadays we may observe the growing interest to the jazz dance, in this connection we are in need of more sources, historical documents, new system of research, investigation of all the information about prominent jazz dancers. Besides, we need new methods in theoretical and practical research; we deal with new aspects in evolution of choreographic art. Jazz, as the art event, is the result of the art evolution, African tribal drum playing skills, rhythm and movements of African Americans (their musical outlets: church hymns, brass bands, spirituals and blues). Peculiarity of jazz dance is characterized by absolutely free movements of a dancer and the parts of his or her body horizontally and vertically in a scene space. Exactly jazz dance embodies all the emotions of a dancer; this is the dance of the emotions, but not forms or ideas, as it happens in choreography of another trends, for example jazz-modern. To follow from the G. Gunter's investigation of jazz dance, the last was quite substantially influenced by traditional cultures of Afro-Brazilian, Afro-Antillean, Afro-Cuban, Jamaica, Haitian, «black south» of the USA.It was mentioned in American ballet encyclopedia that negros (men, women even children) coordinated their moves so skillfully clicking their heels on the floor. Among the real experts of jazz dance was Luigi (nickname), whose was known as the pioneer, doctor of body, ambassador of dance, but mostly – innovator. Historians detected his style as classical jazz complicated, skillful even «fluid fire».The system of exercises he made for himself after road crash became the first in the world which was called completed technique for jazz dance studding. He was so talented person, he could work in different spheres of show-business – from Hollywood musicals up to Broadway shows; he became a new face of musical comedy. He established his personal school «The First World Jazz Centre». Being a good teacher he always knew how to prevent himself form different traumas, and always said to his students «use every possibility to feel everything you do». His teachers were Eddy Jane, Ralf Falkner, Carmelita Maracci, Sam Mints and Micho Ito, Adolf Bolm, Edward Katon, Sally Wellen, Luise de Prone. Choreographers Gin Kelly, Robert Alton were his mentors during his 8- years and 40 movies period.Another very dynamic but different dance makers – Katherine Dunham and Perl Prymus impressed American scenes by expression. These two women were ready to follow the traditions, underline the achievements, complication and force of jazz dance. Prymus made the diapason of emotions of afro-American dancers, showing American audience force, passion, emotions of African culture. Methods of Dunham's dance was unique, she created a very special system of movements and technique to study the style. It was an eclectic confluence of movements, which were investigated in Jamaica and Haiti with ballet and dance modern, integrated in a system of isolation of parts of a body and syncope, which gives to a body a wide specter of movements. Dunham bursted into American culture in the period of social, cultural, political awakening of growing and development. She established a school in 1945 for studding anthropology, sociology, philosophy, and languages in the same portions as step, ballet, folk, percussive, kinetic physical training for the actors.Alvin Ailey American Dance theatre happened as repertory of seven dancers, who dedicated their creativity to a modern dance classic and modern Alvin Ailey's interpretations. Complimentary honorable mentions about their first concerts companies in 1958-1960 th showed the beginning of a new era in dancing, dedicated to Afro-American theme.Alvin Ailey's heritage gives a possibility for free choice between ballet, jazz dance and social dance for a maximum expression of a human internal world by means of movements. He was awarded a lot of prizes, invited to show master-classes in South and North America, England, France, Hungary, Italy, Japan.Through the analysis of jazz dancers' dues into modern choreographic art dancer, choreograph, ballet master get possibility to study their methodological base in details, to understand new approaches in the dance sphere, and to trace art conceptions in choreography to develop our national choreography in general.Keywords: choreography, modern art, jazz dance, dance makers, emotions, syncope, African culture, Afro-American theme, eclectic confluence of movements. ; Йдеться про внесок митців джазового танцю в сучасне хореографічне мистецтво, завдяки якому танцівник, хореограф чи балетмейстер отримує можливість детально вивчати їхню методологічну базу, розуміти нові підходи в галузі танцю та відслідковувати творчі концепції в хореографії, що значно сприяє якісному розвитку вітчизняної сучасної хореографії загалом.Розглянуто творчий внесок Луіджі, якого теоретики танцю вважають послом, піонером джазу, лікарем тіла через його інноваційну методику вправ та комбінацій на розтягнення м'язів аби "відчувати тіло зсередини", а також внесок інших експресивних хореографів афро-американської культури Кетрін Данхем та Перл Примус, їхні унікальні методики опанування та зацікавлення джазовим танцем у період соціального, культурного та політичного становлення Америки.Проаналізовано вплив творчих доробків Елвіна Ейлі, його спадщини, важливість існування якої полягає у можливості вибору між балетом, джазовим танцем, соціальним танцем для максимального вираження внутрішнього світу людини через рух.Ключові слова: джазовий танець, хореографія, сучасне мистецтво, творці танцю, емоції, африканська культура, афро–американська тема, еклектичний потік рухів.
