ARTS ACADEMY

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DANCE AND THE CAMERA: COMPOSITIONAL FEATURES OF CHOREOGRAPHIC STAGING IN THE MUSICAL FILM IN THE EMBRACE OF HAPPINESS
(2026-09-30)
A. D. Shorabek
;
Samal A. Bakirova
In contemporary cinema, dance has become an important component of cinematic language, expanding the artistic possibilities of screen space. Accordingly, the study of the compositional structure of dance scenes, the interaction between choreography and camera work, and the artistic function of editing has become an important research issue. The aim of this study is to analyze choreographic compositions within screen space based on S. Shapashov's musical film Baqyt Qūshağynda (In the Embrace of Happiness) and to identify the features that distinguish them from stage dance performances. The study employed a compositional and artistic analysis of the film's dance scenes together with a semi-structured interview with the film's director-choreographer. The interview was conducted online, after which the collected data were transcribed and analyzed using thematic analysis. The findings revealed the artistic concept of the film's choreographic productions, the specific features of adapting dance scenes to the screen, and the role of camera work and editing in shaping choreographic composition. The analysis also demonstrated that the songs of Shamshi Kaldayakov function not merely as musical accompaniment but as the foundation of a new artistic form created through dance movement and cinematic visual expression. The scientific novelty of the study lies in providing the first comprehensive scholarly analysis of the screen choreography of the musical film Baqyt Qūshağynda, identifying the distinctive features of adapting dance composition to screen space and revealing the role of cinematographic techniques in shaping its artistic structure
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VISUALIZATION OF THE CULTURAL CODE OF THE NATIONAL COSTUME IN THE KAZAKH DANCE ART THROUGH DIGITAL TECHNOLOGIES
(2026-09-30)
Sara M Krykbayeva
;
A. Nygmetova
This article aims to identify modern methods of preserving and representing national heritage in a digital environment. The authors consider the national costume as a carrier of cultural code in Kazakh dance and as a cultural and semiotic system that conveys historical memory, the national worldview, and sociocultural values. The purpose of the study is to analyze the possibilities of digitally visualizing the shape, ornamental patterns, color scheme, and compositional features of the national costume in Kazakh dance. The novelty of the study lies in developing a comprehensive approach to systematizing the color, shape, ornamental patterns, material and texture, headdress, jewellery, and compositional structure of the national costume as an integrated cultural code and relating this code to stage movements in Kazakh dance. The study employed cultural and art-historical, historical and ethnographic, comparative, semiotic, and content analysis methods. The possibilities of photogrammetry, 3D modeling, texture processing, digital archiving, and AR/VR technologies were considered at the digital visualization stage. The study identified seven main elements that characterize the cultural code of the Kazakh national costume and systematized their cultural and semiotic meanings and artistic functions in Kazakh dance. The results of digital visualization were evaluated according to the following indicators: cultural authenticity, visual accuracy, semantic completeness, compatibility with dance movements, digital quality, and clarity of information. The practical value of the study lies in the possibilities of digitally reconstructing the Kazakh national costume, preserving cultural heritage, improving museum exhibitions, and presenting Kazakh dance in a contemporary digital environment. The proposed model makes it possible to systematically represent the cultural code of the national costume, from historical and ethnographic data to 3D reconstruction and interactive visualization.

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