The Aesthetics of Expressive Dance Tableaux in the Performances of the Iraqi National Folklore Troupe (Al-Hajjal) as choice

Abstract

Abstract  of the research:

Expressive folk dance tableaux have never been merely a means of entertainment; rather, they constitute a profound indication of deeply rooted musical–kinetic identity and serve as transmitters of a shared auditory, visual, and cultural memory. Any process of modernization must therefore be grounded in a thorough understanding of their expressive origins and draw upon their inherent musical logic and performance style from their authentic source, so as not to compromise their local specificity. The performances presented by the Iraqi National Folk Arts Troupe reflect a conscious and systematic renewal that begins with the popular kinetic foundations without rejecting them, adding new dimensions without stripping them of their folk essence. The balance between authenticity and modernity alone guarantees the preservation of the identity of expressive folk dance tableaux and ensures their continuity as a living cultural marker.

This research examines The Aesthetics of Theatrical Approaches to Expressive Dance Tableaux in the Performances of the Iraqi National Folk Arts Troupe (Al-Hajal Tableau as a Model). The study consists of four chapters.   

Chapter One (Methodological Framework) addresses the research problem, formulated in the following question:  What are the aesthetics of theatrical approaches in the performances of the Iraqi National Folk Arts Troupe?                                                                                                                                                                                       

contribution  to documenting the artistic and cultural heritage of the National Folk Troupe and in highlighting the principal artistic and directorial methods employed in transforming these tableaux into integrated theatrical performances. The necessity of the research stems from its role in opening avenues for scholars to understand the relationship between dance and music, and between performative expression and theatrical representation. It also seeks to bridge the knowledge gap related to documenting and analyzing expressive dance tableaux as part of Iraqi artistic heritage.

The temporal boundaries of the study extend from 1971 to 2025, while the spatial boundaries are limited to performances presented in Iraq. The subject boundaries focus specifically on the theatrical approaches to expressive dance tableaux in the performances of the Iraqi National Folk Arts Troupe.

The chapter concludes with the clarification and operational definition of terms. The researcher defines theatrical approaches operationally as: the artistic convergence between theatrical performances and non-theatrical presentations that appear to approximate the theatrical form and its multiple elements—such as lighting, costumes, music, performance, and scenography—conveying various meanings. This convergence does not imply literal theatricality but rather an approximation to theatrical structure and aesthetics.        

the researcher defines expressive dance tableaux as: a dramatic theatrical scene or segment of expressive dance in which movement, visual and rhythmic patterns, and human emotions are embodied through diverse artistic forms—visual and kinetic arts—without being confined exclusively to conventional theatrical performance.                                                                      

Chapter Two (Theoretical Framework) consists of two sections. The first section examines the dramatic approach in both verbal theater and physical theater. The second section explores expressive dance tableaux in terms of concept and application within the visual arts. The chapter concludes with a review of previous studies and the indicators derived from the theoretical framework.                                                                                                                              

Chapter Three (Procedural Framework) identifies the research population as one performance from the Iraqi National Folk Arts Troupe presented in Iraq—Al-Hajal Tableau. The researcher employs the indicators derived from the theoretical framework as an analytical tool in examining the research sample. This chapter also includes the research methodology, research tools, and sample analysis.                                                                                                                                     

 Chapter Four presents the findings of the study, among which are:

The expressive folk tableau converges with expressive dance grounded in harmoniously structured rhythmic steps that are inseparable from the personality of the performer (the expressive dancer), whose identity is based on the signification of movement.

The expressive dance tableau closely aligns with physical theater, which does not rely on spoken dialogue or written text; rather, its expressive language is movement and the body as a substitute for conventional dialogue in conveying ideas and emotions.

The chapter also includes recommendations, proposals, a list of references, and appendices.