Lietuvininkų šokis nūdienos kultūroje: sprendimo būdai

LTReikšminiai žodžiai: Etninė choreografija; Kūryba; Lietuvininkai; Lietuvininkų etninė choreografija; Prūsų Lietuvos etniniai gyventojai; Rekonstrukcija; Creation work; Ethnic choreography; Lietuvininkai; Lietuvininkai (Lithuanian prussian) ethnic choreography; Prussian Lithuania ethnic people; Reconstruction.

ENThe upswing in the expression and works of the folklore ensembles and folk art groups during the last decades calls for the latest sharing of the Lietuvininkai (Prussian Lithuanians) ethnic choreography reconstruction. The article deals with the place of the Lietuvininkai ethnic choreography in today’s culture, discusses dances that were created based on the ethnics of Lithuania Minor and performed by folk and country dance groups. The article is aimed at determination and description of trends and perspectives for the revival of the Lietuvininkai ethnic choreography. The aim of the research: examples of the Lietuvininkai ethnic and country dance choreography performed by 10 Lithuanian folk and country art groups. The results of the research revealed that most dance groups from the research sample use the adaption method, totally new work is created – 15 dances or 50% of the total number of examples. When a folk dance is developed, and its design and steps are enhanced. This method is used by both folk and country dance ensembles, i.e. 12 dances or 40% of the analyzed works. And not adapted folk dances are danced very rarely, i.e. 3 dances or 10% of the analyzed works. Non-adapted ethnic choreography is only used by folk ensembles, while developed country dances are danced by folk and country art groups. Folk ensembles create choreography using examples of the songs of Lithuania Minor and recreating the Lietuvininkai household customs and traditions. 5 dances or 17% of the total number of dances in each group are of this kind. As many as three dances, or 10% of the entire repertoire, have been created based on the written sources of the 17th–19th centuries. A totally new work is being created: 3 or 10% of the adapted dances.It turned out that, when a modern choreographer is creating a country dance, not only he needs to get to know the history of Lithuania Minor, East Prussia and the multicultural heritage of the region, but also to know the peculiarities of the Lietuvininkai ethnic music and dance, to understand the features of the Lietuvininkai character, to go deep into the subtleties of the folk costumes, because only then one can expect to create a work that conforms to the Lietuvininkai ethnic identity. Despite the various reconstruction and creation methods of the Lietuvininkai dance, the presented Lietuvininkai ethnic and country choreography stands out from the choreography of other ethnic regions of Lithuania, and today it bears the function of a cultural sign of Lithuania Minor. The folk dances created by modern choreographers today are used as identity marks of Lithuania Minor that bear the cultural and educational functions, allow the next generation to touch the historical roots of their ancestors and to learn about the extinct ethnical culture of the region. [From the publication]