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A woman in a corner at the back of a fence of four women is about a man and takes one by one in his hand, wrapped in his belt, turns, palecas, and again from the end. After a moment, the man humbly bowed his head and was released. What is it OK! The first concert of the great dance concert Mara Zemle was completed on July 6th! After a while, the ladies pbad by me and, having seriously badyzed the choreography and the performance, speak Russian. There are three important thoughts in mind right now.
First, the celebration of song and dance seems to be a national holiday and not an ethnicity. The participation in the big performance this time was so tempting that an Estonian group had also infiltrated during the festival. Secondly, Latvian amateurs perceive their hobby very seriously. Just like vacations, there is a lot of field work, so it is not worth spending a holiday without much effort and responsibility. Third, despite the story, that Mara Land tells from a man's point of view, women are kept together. I mention the motif of the genre, because the great story tells the story of the first law of the law of the night. It is rather plausible that this may be a strong desire for Latvian self-determination. The anger brought the sons of Latvia to become strong, to climb the sea, to ask for their money, to stretch and to poetry, then to ask and to take liberty. Unfortunately, drinking started with the same. The lessons that Latvian girls' dance lessons from what the dark pages of history have caused. There are many things to do on Mara next weekend. But this time around, as at the Olympics, I would say Mara's Land was the best dancer in history!
Encounter at Sibirbizz
"If there is no history, no ballet" LTV said ballet dancer Raimonds Martinovs – one of the best performances on both sides for choreographers in the dance experience even more radical to see on November 18, 2018. The pursuit of conceptual unity and the performances of the play Mara & # 39; s Land justified the accusations made by the plan and have they already received them? Opinions are radically different, and that's the main sign that the fact of art has occurred and can and should be considered a work of art. In addition, as far as possible, distance yourself from the scope, meaning, amount of people involved and the amount of money, as well as the "how to properly magnify the century."
Do not dare criticize Mara's Land ! – I'm in danger of some friends. That does not have to be, people will not understand it. Is not it unusual that in Latvian art criticism, anything small, fragile, created without money and without support, can be quickly pronounced, but must be very careful so that great do not touch any feeling? Or maybe you will not lose a place or an opportunity? It's just a reflection, because my rating is very positive and I'm very happy with the broad-based thinking offered by the performance.
Each author, member and viewer has a different perspective. Little rural dancers, dancers of Riga ensembles, ambitious choreographers of strength and strength, same choreographers with less strength and opportunities, audience-lovers of articles, spectators of faces and dances, ornamentalists, specialists of music, photographers and operators, footballers, nationalists and multinationals, feminists and the Lutheran church and so on. Is it possible to see some of these interests that highlight a general quality and problems? The part of my shared point of view in this article motivates the interest in the situation and the development of the art of Latvian dance.
2019. The first dance award ceremony will be held on April 29, with performances and performances of 2017 and 2018 in four dance genres (ballet, contemporary dance, contemporary dance and folk dance) in which professional choreographers deal with artistic creation. . The jury also watched the main events of the dance festival Another hundred years of dance and Mara's Land and after half a year we will know if the size would also be beneficial. The main purpose of the dance award is to cover and spot events of high artistic value in the broad and divided dance industry, which has also had its cultural policy strategy in ministry documents of Culture for the last years. I have the quiet hope that the Dance Prize process will lessen confusion and skepticism. I hope the world dance people will meet in cyborg and understand that they believe in a deity of dance and that excellence in each genre determines a very similar quality. There will be a dance festival.
[196459002] More Than Words
Although the content and plot of unity in dance and concert performances is most often a ribbon drawn or lying, Mara's Land is not the case. It seems that the director of the performance Elmārs Sņkovs and the author of the libretto Eve Struka also have great merit. Ideally, the simple framework – from ancient history to present with a vision of the future – offers much more than a long history of facts to dance. Dance is badociated with an ideological framework and offers a new historical perspective
Belief in the success of such an approach may come from the spine of the first part of the performance. In the second part of the show, and also in the concert of Rein Suhanov's set design, which immediately reminds me of the organ, I see an inspiring suggestion to think about the relationship between paganism and Christianity. The authors go further than the wiles on forced Christianization, the show tells how traditions are linked. The emergence of peoples and nations over the centuries has emerged as an extremely controversial and controversial process. In addition, in the language of dance, he is very noisy. I hope this will further increase confidence in ourselves. Dance has enough of its means of expression to say everything in words, and many more.
The third most problematic part of production on the creation of a free state of Latvia is equally interesting. The striking start of the 20th century is controversial both musically, choreographically and step by step. The musical composition of the heart and legs does not break, the quality of the musical performance and the recording does not really look like a hundred years. The choreography brings together the motifs of folklore, ballet and propaganda, making even smile the old joke on the rifle monument as "the three who wait for the fourth" (the bee paid more than three rubles for the first time). Soviet era). Always going through the national flags all the way through – a real communist party!
However, this does not mean that this part did not succeed conceptually. Perhaps it perfectly reflects the full atmosphere of pathos and pathos of a particular period of history, in which Latvians try to hear the pulse of their people, to understand if he is strong enough to live? The inclusion of Alfred Spoor's dance in 1973 My country of origin more specifically indicates that the early twentieth century did not differ much from the years of Soviet domination. Thus, the folkloric stage dance, which culminates and flourishes directly in the Soviet Union, is largely stained with this style.
I do not know if a day – old music and a stylistically pure choreography would create a sense of the unpredictable circumstances of the birth of the Latvian state. Good job done. The national tap does not now idealize the good old days, we seek to live further so that the probable randomness seems to be a deserved regularity.
The fragmentary era
Interesting, it is the proportion between the time allowed to display different ages and how the story is gradually replaced by the message given by the heritage of dance. In this version, the Soviet dance collages, which continue to fragmentary notes, integrate it perfectly. Absurd time to dance and dance – good dance, bad dance, dance, foreign dance. The inspiration of choreographers, the dancers' mastery grows because it does not grow if you can form the repertoire of different peoples. Meanwhile, Latvians maintain and formulate a parallel and completely different dance tradition based on ethnographic heritage rather than creativity on the other side of the Iron Curtain, is quieter. It is interesting to see the dance of the clusters of the diaspora not so big, who are young and old, short and long, and who do not know much about the "good" types of polka on the big square. What popular art includes all over the world. The fourth part of the dance collage performance is both a burden for the past and an excuse for the fact that most of the time is occupied by three men. – Jānis Ērglis, Janis Purviņš and Agra Danilevics – visions. It's an opportunity to go back to what was once the Dance Festival, and if you wish, you can ignore the background of the idea, which I suppose, and watch the performances as a dance dance catalog. In a short time, the work of many and different choreographers is displayed.
I have somewhat imagined that if I were to be on the spot, I would like to do a lot of work in full. On the other hand, such a form is such a powerful commentary on the contemporary fragmentary era. Click, click, next. The clips become shorter. Three years ago, we were all together in 2018. What?
Dance of the Future
The Grand Final is always very special. This is reminiscent of the value of the family, which runs throughout the game in dance versions. Well, in an empty place, there is a proud pair of honorable costumes, and then the nation will meet – one step, one round can shake the globe. Directly on your back. The theme of the Castle of Light joins the Festival of Dance with the Song Festival, a collective ritual has the power. All is well with the dance. Some doubts about the details and the text
Lunkanie trees, which coincide with a series of dances of boys already danced with trees, urge to ask if there are more symbols of birth or war and in both cases On the other hand, John Leign's quote from the book The Seal in Red Wax which reads in the finale, yet beautiful and poetic, still speaks again, for the freedom, where survival is in the secret codes, in the unity of the people by belonging to them. In a scene that bridges the future of reality, the text sounds like a useless manifestation of nationalism, which, by the way, appears as a push of a pushing power, because then we see that the people will be able to use their inner power again. How to be with another cause of unity, not us as a group against another group?
As can be seen, in such a volume and form, choreography can remain in the second plane, because every detail serves a great task. It is important for speed and vibration to scroll or browse items and lines. The evaluation of the choreography of the near future would be completely different.
In my opinion, it is also the answer to the questions that were and will be around the show Land of Mara . The most active choreographers of Latvian dance shows have expressed the ambitions of professional artists, who stimulate creativity, challenges and experiences. So, because of the system, where the funding of dance arts and status peaks are Daugava Stadium or the White House, their ambitions are aimed at realizing where they are going and paying more. Instead of experimenting in a dance hall with a group or even smaller group and being a real choreographer, they go on a big place where everyone does not have the same interests and desires.
Back on the theme of dance, how public funding is divided into all segments of the dance. Is this done in the most intelligent way possible to promote the development and growth of the art of dance? Are there adequate proportions between creativity and tradition, do not the current structures seek false leads, how to do what you want, in what is possible and what can be gained? by human beings? Is this the language of Assyz, to which the Mara Land final? "They will be irreproachable songs, but their names will be words of strength and hope" (Jānis Lejiņš Stamp in red wax )
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