"Musical Movement" as Anthropopractice and Life Path (Principles of Organization and Theoretical Reflection)

The article "Musical Movement as Anthropopractice and Life Path" investigates the phenomenon of musical movement (using the example of the "Heptachor" studio) as a unique anthropopractice that shapes a specific life path and type of personality. The author, relying on archival materials analyzed in the article by A. Ailamazyan and E. Tashkeeva "From Dance to Choreography – From Choreography to Dance: Integrity and Breathing as Means of Expressiveness in Free Dance (Based on Archival Materials of S.D. Rudneva)" and contemporary practice, identifies key worldview and methodological principles of this practice and life path. On one hand, it reflects an ideal of antiquity as a "golden age," on the other hand, it embodies free “dance” (in opposition to classical ballet), and on a third level, it emphasizes systematic integrity. For theoretical reflection, the author draws a parallel with the discipline of Karate-do, uncovering a deep similarity in their focus on personal harmonization and overcoming the crisis of contemporary culture. A semiotic-anthropological analysis allows the author to interpret musical movement not merely as a form of art but as a distinct "reality" and form of life in which the constitution of a new subject occurs through the synthesis of music, movement, and words. The conclusion is drawn that this practice represents a holistic path of spiritual and physical education aimed at creative self-realization and the resolution of existential problems of the individual. The author attempts to demonstrate that musical movement is, on one hand, a psychopractice, and on the other, an esoterically tinted life path of the individual. The structuring and articulation of this art form are influenced by four main factors: the experiences of the performed music, the resolution of the personal problems of the subject of musical movement, the environment created by the interpretation of the golden age, and the improvisation or staging of the musical movement as a work.