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The article examines the pedagogical potential of classical choreography within the professional training system for folk-dance performers in the context of contemporary arts education. The relevance of the study is determined by the need to improve the professional training of future folk-dance performers in line with modern requirements that combine the academic technical school with the preservation of folk-dance traditions. The purpose of the study is to identify the pedagogical opportunities of classical choreography in the professional training of folk-dance performers and to substantiate its role in the development of future folk dance performers’ professional competence. The methodological framework is based on interdisciplinary, competency-based, cultural, and personality-oriented approaches; the study employs methods of analysis, synthesis, comparison, and systematization of scholarly sources. The findings demonstrate that the pedagogical potential of classical choreography is realized through the comprehensive development of technical, artistic-expressive, musical, educational, creative, and professional-competence components of professional training. It has been demonstrated that systematic mastery of classical dance contributes to the development of coordination, stability, balance, flexibility, musicality, stage expressiveness, professional discipline, self-control, and the ability to creatively interpret choreographic material. The scientific novelty of the study lies in substantiating the structure of the pedagogical potential of classical choreography in the professional training of folk-dance performers, distinguishing its technical, artistic-expressive, musical, educational, creative, and professional-competence components and defining the means of their realization and the expected outcomes of professional training. The practical significance of the results lies in their potential to improve educational programs for future folk dance performers and to develop methodological support for classical and folk-stage dance disciplines.
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L. Dovganyuk (2026) studied this question.
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