The idea of creating a choreo-platform

Civic activity and involvement in the choreographic performing sector of Georgia is quite high, as evidenced by the existence of numerous dance groups, studios or circles. The number of self-employed creators of choreography at first glance seems to be growing every year due to market demand, however, research on the needs and competencies of creators in this area has never been carried out. Artistic-choreographic education (with its creative fields - dance creator, director, teacher, tutor), due to the specifics, requires a special approach and attention.

In parallel with the achievements, against the background of modern challenges, problems have accumulated in our field.

Recently, it has become easy to ignore copyright in the choreo sector - copying stage creative ideas, findings, ideas, choreographic drawings or dance combinations (plagiarism), unauthorized use of dance music variations, and more. We suggest that this should not be due solely to the dishonesty of the artists. We think that in many cases we are dealing with a lack of professional skills and field knowledge of artists. It is clear that just mastering the performing choreographic vocabulary (dancer-actor) is not enough to create a valuable creative product. This is an obstacle to the transfer of knowledge and the generation of new ideas.

Specialists working in this field often face the problem of lack of pedagogical approaches by dance teachers and the inconsistency of teaching methods with modernity. We encounter certain cases of psychological or physical violence against dancers-actors, use of punishment methods, disregard for choreographic lessons or special methods and age peculiarities during physical activity. Undoubtedly, the unintentional use of choreo-pedagogical methods can cause serious psycho-physical harm, especially to adolescents, in the process of their spiritual and physical formation.

We also consider it a problem that the profession of musician-accompanist is on the verge of extinction (replaced by the musical phonogram). Almost no new dance melodies are created, there is less work with the costume artist on stylization, there is no evaluation-critique of dance patterns, little attention is paid by the higher authorities and so on. It’s as if everyone is locked in their own space and less interested in what’s going on outside of it.

Complicating matters is the fact that none of the external evaluation segments focuses on the study of choreographers' activities, their needs, skills or competencies (excluding the University of Theater, where choreography is taught at all three levels, and the unit is an educational institution). The desire to acquire or share knowledge in our field we think is much greater.

The idea of ​​creating a choreographic platform arose from the desire to think about these problems and find ways to solve them. We think that one of the most important ways to solve these challenges, by each of us, is respect for the profession of choreographer, constant care for self-education and, most importantly, a systematic focus on problems, rather than correcting one isolated part.

Thus, on our platform we want to bring together creative and scientific achievements in one space, to connect artists with each other, to help the creative development of people related to national choreography, to give choreographers a formal education regardless of age, to make it easily accessible to all interested people.

 

We think that the goals set by us and the search for practical ways to solve them will be an important step forward in the long-term process of eliminating the problems and strengthening not only the quantitative but also the qualitative indicator of the Korean sector.

Ekaterine Geliashvili