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PANAJOT KANAÇI (1924-1996) AN ARTIST PROFILE

Gjergj Prevazi

Abstract


Panajot Kanaçi is the most compelling and greatest figure of the Albanian ballet. He was both a very creative dancer and choreographer. He was passionate organizer and leader of the historical processes development of ballet in Albania. He is considered the father of Albanian choreography. Graduated as a choreographer-director in Moscow, upon his return to Albania, Panajot Kanaçi appointed as a choreographer and artistic director of the ballet troupe at the Opera and Ballet Theater. In 1963 Kanaçi choreographed the first Albanian national ballet Halili and Hajria. Perhaps the most expressive dance, which can be appreciated as one of his rare findings and choreographic elaborations, was the dance with the motifs of northern Albania: The dance of the Eagles. It marks an extraordinary creation, with the highly displayed and exhilarating symbolic layering of eagle wings, the proud posture of the bird-man, the moment of flight, a unique metaphor in terms of visuals that became an expressive part of our national ethno-psychological marking. This dance has been performed hundreds of times in numerous concerts at home and abroad, always causing enthusiasm and pride. In his artistic method of working with dancers he paid attention to the approach to the character, his character and the way of physical embodiment, insisting on three levels: a) the rhythmic movements closeness of the character with those of the performer dancer, b) the closeness of psychological expression and depth of experience, giving priority to the element of acting, c) experimentation to find means of expression and visual ways different from the psycho-physical data of the dancer, from his achievements and clichés, to transcend the format of previously set and come out in other still unproven formats. This led the dancers to constantly search for other habits, as if to "go out of themselves" while being "within themselves".

Key words: ballet, leader, study, research, dance, origin, choreography, figure, national.


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DOI: http://dx.doi.org/10.0001/ijllis.v10i3.2176

DOI (PDF): http://dx.doi.org/10.0001/ijllis.v10i3.2176.g2582

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