Dance Through the Prism of the Categories "Cultural Industries" and "Creative Industries"

Abstract

The purpose of the article is to analyze dance as an industrial phenomenon through the prism of the categories of “cultural industries” and “creative industries”. The research methodology is based on the methods of analysis, comparison, systematization, and generalization. The scientific novelty lies in proving that dance as a cultural and artistic phenomenon can be positioned as a component of cultural industries and creative industries. Conclusions. The concept of “creative industries” historically emerged as a rethinking of the concept of “cultural industries”. Products of cultural production are not only material or commercial objects, but primarily cultural texts that function in a system of signs and meanings and generate multiple interpretations. In this context, dance appears as a specific cultural text that, through movement, plastic language, and stage form, produces cultural meanings and is involved in the processes of cultural production. The application of S. Bezklubenko's concept of cultural production to the sphere of choreographic culture made it possible to identify various organizational forms of dance activity - from the individual creativity of an artist or ballet master to the functioning of large institutions and digital platforms for the production of dance content. This indicates the inclusion of dance culture in the modern system of cultural and creative industries. It was found that dance practices have a dual nature: on the one hand, they create cultural value as an artistic product, and on the other - they function as an element of the modern creative economy, forming the market of cultural services, media content and educational practices. That is why the dance industry can be considered as an important segment of creative industries, which combines artistic expression, communication, economic activity and technological innovations.