Танцевальные практики в картине мира современной молодежи: традиции и новации (на материале Республики Адыгея и Краснодарского края)

Dance Practices in the Worldview of Contemporary Youth: A Regional Aspect: Traditions and Innovations (Evidence from the Republic of Adygea and Krasnodar Krai)

The study aims to identify the functions and significance of dance practices in the worldview of contemporary youth in the Republic of Adygea and Krasnodar Krai, with a view to subsequently improving regional youth policy. The authors focus on the value-laden and emotional perceptions of traditional and modern choreography held by young people. The empirical material comprises questionnaire data from over 200 young respondents (aged 15–25), expert interviews, statistical records provided by the Centre of Folk Culture of Adygea, and ethnographic sources, including Adyghe proverbs and sayings. The methodological framework rests on a triangulation strategy designed to ensure the validity of the findings. In the initial phase, a large-scale survey was administered; this was followed by expert interviews aimed at contextualising and deepening the survey responses. Concurrently, statistical data were examined to compare the number of ensembles devoted to national choreography with those specialising in contemporary street dance. The analysis of small folklore genres was undertaken to uncover the traditional cultural codes embedded within Adyghe dance practices. A high level of youth engagement with Adyghe folk dances was identified; these are perceived as an important ethnic marker and a source of aesthetic pride. A comparative analysis of dance preferences across age and gender groups reveals that young women participate in dance activities considerably more actively than young men, while the latter demonstrate a stronger preference for traditional forms. The study also explores the motives behind and reasons for the growing interest in contemporary street dance styles, such as hip‑hop and contemporary. A steady increase in their popularity has been recorded, contributing to the emergence of a heterogeneous and dynamic dance culture. The process of professionalisation among young dancers is examined, and their initial career anxieties are identified. It is found that traditional Adyghe dance retains a dominant position in the worldview of the region's youth, acting as a powerful vehicle for interethnic communication and cultural representation. Its prominence is attributed to its aesthetic richness, its rigorous yet graceful choreographic canon, and its deep rootedness in historical and social norms. Dance also fulfils a socialising, communicative, and agonistic function, fostering in young people skills of collective interaction, emotional self-expression, and competitive self-realisation. The authors emphasise that regional youth policy should move towards ensuring equal institutional and financial support for both traditional and modern dance forms.