POSITION

ON THE COLLECTIVES OF ARTISTIC ACTIVITIES, CLUBS OF INTEREST AND CREATIVE ASSOCIATIONS

MUNICIPAL BUDGETARY INSTITUTION OF CULTURE

"PALACE OF CULTURE" ENERGOMASH "

1. GENERAL PROVISIONS AND MAIN TASKS OF THE COLLECTIVE

ARTISTIC ACTIVITIES, CLUB

BY INTERESTS AND CREATIVE ASSOCIATIONS

1.1. Amateur art groups, clubs of interest, creative associations operate on the basis of the municipal budgetary institution of culture, the Palace of Culture "Energomash". Supported by budgetary and extrabudgetary funds, targeted programs and income-generating activities, which, in accordance with the legislation, can be directed to the needs and support of the team.

The creative team is created, reorganized and liquidated by the decision of the head of the Institution. The team is provided with a room for conducting classes, as well as the necessary material and technical base.

1.2. An amateur art group, a club of interests and a creative association is a voluntary association of people based on a community of interests, requests and needs in engaging in amateur artistic and technical creativity, in joint creative activities that contribute to the development of the talents of its participants, the development and creation of cultural values \u200b\u200bby them, and also based on the unity of people's desire to obtain relevant information and applied knowledge in various areas of social life, culture, literature and art, science and technology, to master useful skills in the field of everyday life, healthy lifestyles, leisure and recreation.

Participation in a collective of amateur performances, a club of interests and a creative association is carried out in free time from the main activity (work / study) and is one of the active forms of social activity.

1.3. The collective of amateur art, club of interests and creative association is designed to promote:

Patriotic education of its participants and the broad masses of the population, expansion of cultural horizons, the formation of high moral qualities and aesthetic tastes in them;

Further development of mass art and folk art, wide involvement of new participants from various groups of the population;

Introducing the population to the cultural traditions of the peoples of the Russian Federation, the best domestic and world cultural samples;

Popularization of creativity of professional and amateur authors who have created works that have received public recognition;

Assistance in the acquisition of knowledge, skills and abilities in various types of artistic creativity, the development of the creative abilities of the population;

The implementation of activities for the cultural services of the population, the reasonable and rational use of free time, the organization of recreation, the harmonious development of the individual.

1.4. The repertoire of the amateur talent group is formed from the works of domestic and foreign composers and poets, drama, choreography, etc., as well as the best examples of domestic and foreign classics, works by progressive domestic and foreign authors; the repertoire should contribute to the patriotic, labor, moral and aesthetic education of the participants. The repertoire must be formed and replenished, updated at least a fourth part per year.

1.5. The creative work of amateur art groups, hobby clubs and creative associations should include:

Involvement of participants on a voluntary basis in their free time from work or main activity;

Activities to create a creative atmosphere in teams, training in artistic creativity skills;

Conducting rehearsals, organizing exhibitions, performing with concerts and performances, participating in competitions and other creative events.

1.6. Indicators of the quality of the work of a creative team are the stability of its personnel, participation in reviews and competitions of creative skills, a positive assessment of activities by the public (publications in the media, letters of thanks, applications for concerts (performances) from organizations, income from sold tickets for concerts and performances of the team) ...

For creative successes and social activities to popularize traditional folk culture, participants and leaders of collectives of folk art can be nominated for various types of encouragement, namely: diploma, badge of honor, the title of Honored Worker of Culture.

For the successes achieved in various genres of creativity, club formations of an artistic orientation can be nominated for the title of "folk" group.

2. EDUCATIONAL AND CREATIVE WORK OF THE TEAM OF ARTISTIC ACTIVITIES,

CLUBS OF INTEREST AND CREATIVE ASSOCIATIONS

2.1. Educational, educational and creative work in teams is determined by plans and should include:

2.1.1. In all groups, classes are held to improve the cultural level of participants, study innovations in the field of culture and art, familiarize themselves with the history of art, development trends of its individual genres and folklore; discussing the formation of the repertoire, increasing the role of amateur creativity in aesthetic education and organizing leisure activities for an audience of different ages. For educational purposes, the members of the collectives visit museums, exhibitions, theaters, concerts, etc.

2.1.2. In groups of theatrical art (in theater, music and drama groups, theaters for young spectators, puppet theaters, theaters of poetry and miniatures, propaganda teams, collectives of the artistic word) - classes in acting, speech technique and artistic word, musical literacy, voice production, learning vocal parts, work with a director, playwright, composer, accompanist; work on a miniature, a thematic program, literary or literary-musical composition, prose, poetic work or a cycle of poems.

2.1.3. In collectives of musical art (in academic choirs and ensembles, folk song choirs, vocal ensembles, song and dance ensembles, brass bands, folk instrument orchestras, pop orchestras, vocal and instrumental ensembles, musicians, performers, singers) - lessons on learning works for choir with and without accompaniment, learning pieces with soloists and ensembles; learning the parts of ensembles, choirs, conducting general rehearsals; learning solo and group dances, choreographic miniatures; learning to play musical instruments.

2.1.4. In collectives of choreographic art (folk, classical, pop, sports, ethnographic dance and ballroom dancing) - classes on the study of the history and theory of choreography; learning solo, group, ballroom dances, choreographic miniatures, compositions, dance suites, plot performances.

2.1.5. In collectives of fine and decorative and applied arts (in collectives of amateur painters, sculptors, graphic artists, masters of decorative and applied arts) - classes on the study of the history of fine and decorative applied arts; technique and technology of painting in workshops and in the open air, technique and technology of graphics, sculpture and applied crafts - carving, chasing, instructions, artistic embroidery, etc .; compositions; performing tasks of an artistic design; organization of exhibitions.

2.1.6. In collectives of circus art (circus, performers of the original genre) - classes on the study of the history of circus art; training and physical development; circus art techniques, musical and artistic design, director's decision of the number.

2.2. Creative and organizational work in teams should include:

Conducting training sessions, rehearsals, organizing exhibitions, performances with concerts and performances;

Measures to create a creative atmosphere in teams: comradely mutual assistance, conscientious fulfillment of instructions by the participants, fostering respect for the property of the team and institution, compliance by each participant with the internal regulations;

Conducting at least once a quarter and at the end of the year a general meeting of the team members with summing up the results of educational work;

The accumulation of materials for educational and creative work (plans, magazines, etc.), reflecting the history of the development of the team;

2.3. Classes in all teams are held in accordance with the approved team work schedule.

2.4. In a year, musical, choral, vocal, instrumental, choreographic, circus and other ensembles release a concert program from one department, annually updating at least a quarter of the current repertoire.

2.5. Performances by amateur art groups with concert programs or participation in a combined concert are held not less 1 - 2 times a month.

2.6. With the permission of the head of the culture department of the Belgorod administration, the director of a cultural institution, an amateur group can give concerts, performances, etc., the funds from which go to the income of the institution and are used at the discretion of the head, in accordance with the Charter of the institution. Tariffs for paid services are approved in the manner prescribed by law.

2.7. Members of an amateur art group, a club of interests or a creative association - leading a large socially useful work in organizing leisure and cultural services for workers, veterans of the amateur scene, as well as winners of festivals, reviews and competitions of amateur art, exhibitions are awarded in the prescribed manner with diplomas, certificates ...

For great merits in cultural services to the population, for achievements in artistic creation, participants can be individually nominated for the honorary title "Honored Worker of Culture" and other types of encouragement.

3 ... ARTISTIC TEAM LEADERSHIP

INDEPENDENCE

3.1. The director of the institution is responsible for the management of amateur and technical creativity groups.

3.2. The direct management of amateur art groups, interest clubs or creative associations is carried out by the artistic director of the institution.

3.3. Leader of an amateur art group, hobby club or creative association:

Draws up an annual plan of educational, organizational and creative work and submits to the artistic director of the institution for approval;

Conducts in the team regular educational and creative work on the basis of the approved plan;

Keeps a log of rehearsal sessions and provides it to the artistic director for verification;

Forms the repertoire, while taking into account the ideological and artistic quality of the works, the relevance of their thematic focus, as well as the specific performing and staging capabilities of the collective;

Prepares the performances of the collective, ensures its active participation in festivals, shows, competitions, concerts and public events of the institution and the city as a whole;

Draws up other documentation in accordance with the charter of the Institution, internal labor regulations;

Organizes a creative demonstration of the team's work for the reporting period.

3.4. Classes in creative teams are conducted systematically not less 3 (three) times a week for 2 academic hours (academic hour 45 minutes) with one group.

3.5. To assist the leader in each amateur group, hobby club or creative association, the head of the group is selected.

3.6. By agreement with the head of the Institution, collectives can provide paid services (performances, performances, concerts, exhibitions, etc.), in addition to the main plan of the institution. Funds from the sale of paid services can be used to purchase costumes, props, teaching aids, encouragement of participants and team leaders, as well as pay travel expenses.

3.7. With a creative team, a satellite team can be organized, the purpose of which is to ensure the continuity of creative traditions.

4. CAPACITY OF COLLECTIVES OF DIFFERENT GENRE AND KINDS OF ACTIVITY

4.1. The number (occupancy) of teams is determined by the head of the institution, taking into account the following minimum standards:

- theatrical - at least 15 people (2 groups);

- vocal: Choir - at least 15 people, ensemble - at least 5 people;

- instrumental - Orchestra - at least 15 people, ensemble - at least 5 people;

- choreographic - at least 18 people (3 groups);

- folklore - at least 15 people (2 groups);

- fine and decorative - not less than 12 people.

- photo-video - at least 10 people.

The number of participants is indicated for groups of children of the first year of study (assuming a 40-hour work week).

4.2 This norm does not apply to vocal and instrumental ensembles in the form of a duet, trio, quartet.

5. PAYMENT FOR MANAGERS

CREATIVE COLLECTIVES

5.1. The salaries of team leaders are established in accordance with the regulations on remuneration of employees of the Institution.

5.2. Working hours for full-time team leaders are set at 40 hours per week.

During working hours of full-time creative workers of collectives, the time spent on:

Preparation and holding of concerts, performances, special classes, group and individual rehearsals;

Training and participation of the team in cultural events organized by the base institution;

Events for the release of performances, concert programs, the organization of exhibitions, etc .;

Tours with the team;

Work on the selection of repertoire, creation of script materials;

Scientific research and expeditionary activities on the profile of the national team;

Participation in training events (seminars, refresher courses);

Economic activities for the improvement and design of the working space;

Decoration of performances, concerts, preparation of props, costumes, sketches, scenery, recording of phonograms.

The official salaries for the leaders of the circles are established for 3 hours of circle work per day, and for accompanists - for 4 hours of work per day. For these employees, a monthly summarized accounting of working hours is established. In those cases when the leaders of the circles and accompanists cannot be fully loaded with work, their labor is paid for a set amount of work at hourly rates.

In cases where the head of the circle or the accompanist is entrusted with a circle (accompanist) work in excess of the working hours established by this clause, payment for the processed hours is made at hourly rates in a single amount.

The calculation of the hourly wage is made by dividing the monthly official salary of the head of the circle by 76.2 (the average monthly number of working days is 25.4, multiplied by 4 hours).

The term of the Regulation is not limited

I am familiar with the Regulation (I received a copy in my hands):

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Matuk Vyacheslav Alfredovich. Organizational and pedagogical foundations of collectives in the system of cultural and leisure activities: dissertation ... candidate of pedagogical sciences: 13.00.05 / Matuk Vyacheslav Alfredovich; [Place of defense: GOUVPO "Moscow State Open Pedagogical University"] .- Moscow, 2009.- 244 p .: ill.

Introduction

CHAPTER 1 Theoretical substantiation of the functioning of modern amateur performances 15

1.1. The essence of amateur performance as a controlled and self-developing system 15

1.2. Organizational aspects of the functioning of amateur performances 29

1.3. Conceptual grounds for ensuring the functioning of an amateur pop-instrumental group in modern conditions 44

CHAPTER 2. Organizational and methodological support for the functioning of amateur pop-instrumental groups 59

2.1. Model of organizational and methodological support of the functioning of amateur pop-instrumental groups 59

2.2. Methodology for the functioning of the activities of amateur pop instrumental groups 77

2.3 Evaluation of the effectiveness of the implementation of the "Methods of organizing the functioning of the activities of amateur pop-instrumental groups" 103

Conclusion 114

List of sources used 119

Applications 150

Introduction to work

The reassessment of spiritual and moral values \u200b\u200bobserved in modern society makes it possible to reconsider the role of amateur creativity in all spheres of human life in a new way. One of the significant areas in the multilevel structure of amateur creativity is amateur pop-instrumental art, which is aimed at strengthening and expanding the creative principle in the system of forming the artistic and aesthetic culture of the individual.

The great popularity and wide distribution of amateur pop and jazz groups (orchestras, instrumental, vocal and instrumental groups, rock groups) in our country is obvious. This is due to the fact that the musical stage is most susceptible to external influences. It is constantly changing with the development of information technology, musical expressive means, sound-acoustic equipment and electronic instruments. Like no other genre of musical art, pop-instrumental art quickly reacts to transformations in the modern socio-cultural situation.

The influence of amateur groups on the artistic and aesthetic development of the population, as well as the variety of opportunities for educational influence on performers and listeners by means of this genre of musical art, require constant improvement of the organization of amateur creativity as a system in which the personality of the leader of an amateur group is a system-forming element. In this regard, the status of the leader of an amateur pop-instrumental group, capable of carrying out a rational organization of the activities of amateur groups, is of great importance.

In the modern socio-cultural situation in the field of amateur creativity, a significant contradiction has arisen between the needs

participants of amateur pop groups in the versatility of socialization and self-realization in amateur creativity as additional in relation to other areas of human life and a special, narrow-technological implementation of the artistic interests of the leaders of amateur groups, oriented to success.

In the activities of the leaders of amateur pop-instrumental groups, such components of their professional competence as focusing mainly on the leisure and communicative interests and needs of the participants, the specific features of the amateur collective, the organization of the pedagogical and creative process in it are almost completely ignored. In the new socio-economic conditions, when an amateur team cannot always count on budget funding, it is important for its leader to have the appropriate organizational and pedagogical qualities, to act as a manager and producer of his team.

An analysis of the literature on the research problem showed that in recent years there have appeared works that consider the problem of the functioning of modern amateur performances. N.G. Mikhailova, A.G. Mikhailik, A.S. Kargin, Yu.E. Sokolovsky and others study amateur performances in the context of social and pedagogical problems. In the studies of E.I. Smirnova and T.I. Baklanova's amateur performances are presented simultaneously as a subsystem of artistic culture and leisure. The existence of pop musical and instrumental groups is considered in the pedagogical and organizational-methodological aspect in musical pedagogy in the works of I.P. Arkhangelsky, L.M. Braginsky, D.A. Braslovsky, V.V. Volkova, A.A. Rottooth, A.L. Koroteeva, V.G. Kuznetsova, E.V. Mshtsuk, O. V. Nezhinsky, B. Penchuk. From works,

dedicated to the history of pop and jazz art of particular interest are monographs by A.N. Batasheva, S. Berto, V.G. Kuznetsova, E.V. Fedorov, R. Blesh, M. Jones, D. Chilton and articles by A.L. Koroteeva.

At the same time, a relatively small number of special pedagogical studies (V.V. Volkova, A.S. Kargina, A.G. Mikhailik, E.V. Mishchuk) are devoted to the problem of the functioning of amateur pop-instrumental groups. For the first time we consider amateur creativity as a sociocultural phenomenon that integrates artistic and pedagogical principles in the organizational and pedagogical aspect. In this regard, this study is relevant.

GENERAL DESCRIPTION OF WORK

The relevance of the topic of the dissertation.Amateur creativity as a phenomenon is an important link in the sociocultural activity of a person. The creative activity of amateur pop-instrumental groups has great artistic and pedagogical potential. In this regard, the continuous improvement of amateur creativity is a task of not only social, but also pedagogical significance. That is why the problem of identifying the organizational and pedagogical foundations of the functioning of amateur pop-instrumental groups seems to be the most important.

Purpose of the study.The purpose of the study is scientific substantiation, development and experimental testing of the methodology for organizing the functioning of the activities of pop-instrumental groups.

Object of study- the functioning of amateur pop-instrumental groups.

Subject of study- organizational and pedagogical process
functioning of amateur pop-instrumental

collectives.

Research hypothesis.We assume that the process of rational functioning of the activity of amateur pop-instrumental groups is possible under the following conditions:

consideration of amateur performances as a socio-cultural phenomenon with a two-way orientation - artistic and pedagogical;

understanding by the leader of an amateur collective of the theoretical foundations of the development of amateur performances as the basis for the rational functioning of an amateur pop-instrumental collective;

inclusion of the musical repertoire of domestic authors in the artistic material of the amateur collective;

integration of general didactic methods and methods of musical education into the system of amateur performances;

the elaboration of educational and methodological support for the activities of an amateur collective on the basis of the individual characteristics of a particular amateur pop-instrumental collective.

Research objectives:

On the basis of the analysis of philosophical, pedagogical, psychological literature, to reveal the essence of amateur creativity as a controlled and self-developing system.

To reveal the organizational and pedagogical foundations of the functioning of amateur pop-instrumental groups.

Develop and experimentally test the "Methodology for organizing the functioning of the activities of pop-instrumental groups."

4. Create methodological support for rational functioning
amateur pop-instrumental groups.

Methodological basis of the research.The methodological basis of the study was the philosophical provisions concerning the methodology of cognition of reality, the interpretation of the essence of amateur performance and the specifics of its manifestation in various socio-economic formations, the genesis of the artistic culture of society, the educational role of art, the role of human activity in the education of the individual and the collective. Among the general theoretical and methodological foundations of this study are modern ideas about the meaning of subject-subject relations in the pedagogical process (pedagogy of cooperation); the provisions of modern aesthetics about the essence and social functions of art; about the role and place of amateur performance in the life of the individual and society;

problems of management and self-government in social systems and subsystems.

The theoretical basis of the study was:

The philosophical works of A.I. Arnoldov (the system of spiritual culture, its
role in the spiritual progress of society); B.A. Grushina (features of mass
consciousness); AND I. Zisya (modern synthesis of art); Yu.N. Davydova
(historical sociology of art); M.S. Kagan (morphology of art,
its social functions); Yu.N. Kulikova (contemporary folk art
in the system of artistic culture), etc .;

Pedagogical research by Yu.P. Azarov (a systematic approach to
education and training); L.G. Bryleva (psychological
pedagogical conditions for personal self-realization); G.N. Golovanov
(typological approaches to education in an amateur group);
I.F. Goncharova (the role of art in aesthetic education);
POISON. Grigorovich (training of cultural workers and their aesthetic
development); HELL. Zharkov (socio-cultural foundations of pop
art); V.P. Isaenko (psychological and pedagogical diagnostics of development
amateur art group); A.L. Koroteeva (main
forms and content of the educational and creative process
preparation of gifted children for wind, pop and
jazz performance); B.C. Kuzina (psychological and pedagogical foundations
teaching artistic activities); VC. Nazarov (features
upbringing of personality in a collective of amateur performances);
D.V. Width (pedagogy of the formation of musical culture
leisure); T.I. Baklanova, O. I. Danilenko, A.S. Kargin, V.K. Hook,
T.V. Lavrova, A.P. Markova, A.G. Mikhailik, N.G. Mikhailova,
E.I. Smirnova, Yu. Sokolovsky, A.P. Khachaturian and others (pedagogy
cultural and educational activities and the development of amateur
artistic creativity); V.V. Volkova, V.A. Volobueva, A.L. Koroteeva,
V.G. Kuznetsova, E.M. Kurilchenko, F.A. Solomonika, V.I. Tuzova and others.

(pedagogical guidance of musical instrumental

collectives).

Research methods.In accordance with the purpose and objectives of the research, the following theoretical methods were used: analysis of philosophical, psychological and pedagogical literature on the research problem; analysis of the documentation of the Regional Scientific and Methodological Center for Culture and Folk Art of the Department of Culture of the Grodno Regional Executive Committee (Republic of Belarus), modeling; empirical - questioning, observation, conversation, interviewing members of amateur pop-instrumental groups; pedagogical - for expert assessment of the leaders of amateur pop-instrumental groups.

Scientific novelty of researchis that:

organizational and pedagogical foundations of the functioning of amateur pop-instrumental groups are considered as an independent pedagogical problem;

a holistic analysis of the features of the functioning of amateur pop-instrumental groups as a controlled and self-developing system was carried out;

the main aspects of the rational organization of the functioning of amateur pop-instrumental groups are determined;

on the basis of the prevailing motivation and orientation of the group members, optimal organizational and pedagogical conditions for the functioning of amateur pop-instrumental groups have been developed and experimentally tested;

a model of organizational and methodological support for the functioning of amateur pop-instrumental groups has been created;

the "Methodology for organizing the functioning of the activity of pop-instrumental groups" was developed, which is implemented on the basis of the integration of musical and general pedagogical education;

scientific and methodological support has been developed: a complex of general didactic and special methods reflecting the specifics of pop music art; complex of problem-thematic information cards.

The theoretical significance of the studyis to study
problems of the functioning of amateur pop-instrumental
teams from philosophical, socio-psychological and pedagogical
positions; systematization of basic research in theory, methodology and
practice of socio-cultural activities and artistic
creativity; in revealing the essence of artistic and performing and
artistic and educational activities of amateur

collectives.

Practical (economic, social) significance of the researchis:

in identifying the specifics of the activity of amateur pop musical and instrumental groups and researching the issues of their functioning;

determining the optimal methodological solutions that allow: a) to streamline the artistic and performing and artistic and educational activities of pop-instrumental groups, b) to ensure the scientific and methodological content of the educational process of the corresponding specializations of educational institutions of the Ministry of Culture, c) to organize work with the population of different ages and contingent, d) ensure the process of professional training of leaders of amateur pop-instrumental groups.

Credibilityresultsresearchprovided:

methodological validity of the initial theoretical provisions; the use of a complex of methods of scientific knowledge and practical activity, adequate to the object, subject, goals and objectives of the research; a qualitative analysis of the data obtained in the course of the experimental work.

The following provisions are submitted to the defense:

1. The essence of amateur performances as controlled and
self-developing system.

Expanding knowledge about amateur performances, the originality and specifics of the activities of an amateur pop-instrumental group through informal, socio-psychological regulation and self-regulation of the participants and the leader of the amateur group. The activity of an amateur pop-instrumental group is organized at three levels: a) exterior (the subject of the organization is the macrosystem: the state, public organizations, social institutions); b) interior (the subject of the organization: institutionalized or weakly institutionalized leisure communities that form the human microenvironment); c) introiornom (self-organization and self-regulation by a person of his own activity). In amateur performances, the sphere of management and the sphere of self-development are presented on the basis of self-government, self-organization and self-regulation, which is very necessary for considering the essence of amateur performance as a controlled and self-developing system.

2. Model organizational and methodological securing
functioning of amateur pop-instrumental
teams,which is based on the conceptual basis for providing
the functioning of the amateur pop-instrumental
team in modern conditions. Model relates to structure
artistic culture of society and includes a goal; essence

amateur performances, considered as a process and result of creative activity; the pedagogical potential of amateur performances (the polyartic nature of amateur art); the structure of amateur performances; types of organizational structures of amateur performances; levels of organization of amateur performances; functions of organizing the process of amateur performances; types of amateur pop-instrumental groups; specific features of the methods of organizing amateur groups; conditions for the functioning of amateur groups; types of activities of amateur groups.

3. "Methodology for organizing the functioning of pop
instrumental groups ",implemented on the basis of integration
music and general pedagogical education in the system
amateur performances and allows: to improve the quality
meaningful functioning of amateur pop-
instrumental groups; create the necessary conditions for
popularization of the creative activity of amateur pop-
instrumental groups for the purpose of their subsequent expansion;
summarize progressive experience in organizing a concert and performing
activities and educational and pedagogical work in amateur pop and
instrumental groups; provide centralized coordination
activities of both professional and amateur pop-
instrumental groups; improve performance skills as
leaders and members of art groups
amateur performances in the field of specific musical activities;

4. Scientific and methodological support of the functioning process
pop-instrumental groups,including:

A complex of general didactic methods: information

(dissemination of information on the creation of pop-instrumental

collective); motivational (conducting qualified marketing to identify potential candidates for the team being created); diagnostic (the procedure for recruiting participants into a pop musical and instrumental group, diagnosing their abilities, predisposition to creative activity); demonstration (demonstration of events to popularize pop, jazz art);

a set of special teaching methods that reflect the specifics of pop music art ("Method of a lazy person", "Jumping fingers", "Musical imitation kaleidoscope", "We are artists"). Both groups of methods are aimed at ensuring an optimal artistic and educational process in amateur pop-instrumental groups;

a set of thematic information maps: "Specificity of pop musical and instrumental groups and optimization of their functioning", "Promising directions of qualitative and meaningful university training of leaders of instrumental and pop groups", "Problems of organizing the artistic and educational activities of ensembles and orchestras to popularize pop music for youth audience "," Optimization of the organization of the pedagogical process of an amateur pop-instrumental group "," The main artistic and educational tasks of musical youth instrumental-pop groups of Belarus "," Organizational and problematic features of scientific and creative student circles of pop musical art and the prospects of their functioning in higher educational institutions "," Student scientific circles "Musical variety art" in the professional development of young professionals (instrumental ensembles, orchestras) "," Features of the formation development of an information-thematic databank for managers

amateur pop instrumental groups for organizing artistic and educational activities "," Interregional forms of cultural cooperation and its place in enhancing the creativity of musical pop groups "," Pop musical and instrumental groups of Belarus and their role in the development of artistic abilities of young people ", etc.

Publication of results. 19 papers have been published on the dissertation problem (the total volume of published materials is 257 pages, including 1 monograph, 6 articles in journals, 8 materials and conference abstracts, 4 popular science articles).

Testing and implementation of research resultswas carried out in the course of: the author's speeches at scientific and scientific-practical republican, interuniversity, international conferences (1997-2008); scientific and practical seminars (1998-2008); conducting scientific and creative laboratories, "master classes", workshops (2001-2008); professional activity as the leader of professional and amateur orchestras in educational institutions "Grodno School of Arts", "Minsk Music College named after M. Glinka "; Grodno State University named after Yanka Kupala ".

The structure and scope of the thesisdue to the logic of the research, its tasks. The work consists of an introduction, a general description of the work, two chapters, a conclusion, a list of sources used, annexes, contains figures and tables. The full volume of the dissertation is 244 pages, the list of used sources includes 258 titles in Russian, Belarusian, Ukrainian, Bulgarian and English.

The essence of amateur performances as a controlled and self-developing system

Any system, according to the definition of the philosophical dictionary, is a combination of some variety into a single and clearly dismembered whole, the elements of which in relation to the whole and other parts take their respective places. The education system, being, in turn, a subsystem of the sphere of socio-cultural activity of society, consists of the following interrelated components: the goals of educational and developmental activities; the content of this activity; methods of teaching, education and development; funds; organizational forms in which educational activities are carried out with one effect or another. For each profile, including for amateur performances as a managed and self-developing education system, there is a specific educational system. This specificity is determined in this study by the originality of the goals, content, methods, means and organizational forms of educational activity in the unity of its teaching, educational and developmental functions in relation to the contingent of participants in amateur performances of pop-instrumental groups.

When considering the essence of amateur performances as a controlled and self-developing system, it was necessary to clarify individual concepts related to amateur performances. This means that the concept of "amateur art" is not identical to the concept of "amateur art". Comparison of these concepts by different researchers is considered in different ways. N.G. Mikhailova notes that "... with the apparent clarity of the concepts of" amateur performance "and" amateur art ", they do not belong to the number of unambiguously understood by everyone in practice and do not have clear links with the terminological traditions of a particular science or sciences."

In defining amateur performances, some authors limit it mainly to the process of artistic creation, while others generally take it beyond the bounds of artistic culture. A.G. Mikhailik argues that “amateur performances are not only people engaging in art. It is also an activity to improve the general cultural and artistic-aesthetic level of education of the people; a form of recreation for people, filling free time, communication, supporting emotional and moral optimism, both as an individual and for entire groups and collectives; finally, a form of manifestation of the festive mood of people. " In this definition, there is an intersection of individual signs of amateur performances with some specific and nonspecific functions of amateur art, which does not allow getting a holistic idea of \u200b\u200bamateur performances.

More substantiated approaches to the definition of amateur performances are outlined in the works of T.I. Baklanova, A.S. Kargin, N.G. Mikhailova, E.I. Smirnova and others. They contain an analysis of the correlation in amateur performance of the processes of artistic production and artistic consumption, realized in leisure forms of activity. Based on the foregoing, it can be argued that amateur art is not limited to amateur art as a field of artistic production, but also includes, according to the authors, various other types of artistic activity. In this regard, taking into account the above, we recognize the point of view of M.N. Afasizhev on the need for methodological and scientific aspects of systematic research on art, including the specifics of amateur performances.

In pedagogical research I.P. Arkhangelsky, L.M. Braginsky, D.A. Braslavsky, V.V. Volkova, A.A. Rottooth, A.L. Koroteeva, V.G. Kuznetsova, E.V. Mischuk, O.V. Nezhinsky, B. Penchuk), amateur performances are most often viewed in the context of social and pedagogical problems.

Certain problems of the artistic and educational role of amateur performances are analyzed in the studies of R.P. Gudyalis, S.S. Estemesova, T.V. Lavrova, F.A. Solomonika, etc. However, the analysis of the essence of amateur performance as a controlled and self-developing system in pedagogical research has not been carried out. In our opinion, such an analysis is possible on the basis of a combination of pedagogical and art criticism approaches in the system of implementing amateur performances in a socio-cultural environment. The art criticism approach will allow us to consider the essence and specifics of amateur performances as a genre of art. On the basis of the pedagogical approach, it is possible to identify the educational potential of amateur performances, its importance in the process of artistic and aesthetic development of all groups of the population, and to determine the ways and means of the influence of amateur performances on both listeners and performers.

At the same time, the authors of pedagogical studies of amateur performances (V.V. Volkov, A.S. Kargin, A.G. Mikhailik, E.V. Mischuk), focusing on it exclusively as a means of education, are often distracted from the nature of art. ... This requires overcoming the tendency to isolate the problematics of amateur art within the framework of pedagogy. This tendency is increasingly recognized as “... a general methodological error: folk art is viewed not as an area of \u200b\u200bfull-fledged art, but only as a factor in the formation of a human personality. And, it is true, such a role is difficult to overestimate, but at the same time it should not be overlooked that folk art is also a sphere of artistic culture ”. In comparison with professional art, amateur performances are presented as a polyartic phenomenon: all the main components of this sphere of artistic culture are represented in it and, at the same time, there is some original meaning. It is precisely in the polyartic nature of amateur performances that its main educational and pedagogical potential lies.

The analysis of educational and pedagogical potential is associated with the identification of general and special characteristics of amateur performances in relation to artistic culture, which requires relying on a philosophical understanding of this concept. In the research of M.N. Afasizheva, Yu.N. Davydova, G.N. Pospelova, V.A. Razumny, Yu.U. Foht-Babushkina and others in recent years, the problems of the role and place of amateur performances in the system of artistic culture have been especially actively developed. They attempt to deepen and sometimes revise the traditional ideas about the essence of amateur performances, about its possibilities as a means of aesthetic education, about the interaction of amateur performances and a person, amateur performances and modern society. The philosophical works contain the necessary theoretical prerequisites for determining the general and special characteristics of amateur performances, its pedagogical potential.

Organizational aspects of the functioning of amateur performances

When identifying the organizational and pedagogical foundations of the functioning of amateur performances in modern society, it was necessary to consider the organizational aspects in order to consider the educational and pedagogical potential of amateur performances in the system of work of pop-instrumental groups. The concept of "organization" (psychological aspect) is interpreted by ES Rapatsevich. as “a differentiated and mutually ordered association of individuals and groups acting on the basis of common goals, interests and programs. Distinguish between a formal organization that has an administrative and legal status and makes the individual dependent on impersonal, functional ties and norms of behavior, and an informal one, which is a community of people, united by personal choice and direct non-official contacts.

In connection with the interpretation of this concept, it makes sense to clarify the historical conditionality of the allocation of social institutions in the system of artistic culture, which Yu.V. Petrov. The author shows how, in the course of historical development, as a result of the progressive division of labor (including the separation of activities in organization and management), some regulatory connections and relations can be isolated from the types of activities in which they were included and which are subject to regulation. They are consolidated, formalized, sometimes legalized. Social institutions act as specific “institutionalized subjects”, acting as intermediaries between certain social circles and artists, between artists and the public. At the same time, not only relations, connections, but also subjects of artistic activity can be institutionalized: musicians (creative unions, associations); audience (clubs of music lovers, disco clubs); critics (associations, critical publications).

In amateur performances, the management block was institutionalized, and there were officially formed and registered club, student, children's and other amateur art groups, including pop instrumental. However, along with institutionalized forms in amateur performances, the presence of unorganized forms is recognized. They originate and develop in a sphere that is often defined as “everyday artistic culture”. Its core is everyday art, which "... can realize itself as a form only" here "and" now ", only in the form of everyday life and a special life situation." According to the researchers, it is the art of everyday life that lies at the heart of modern amateur performances, with which one cannot but agree. Thanks to the inclusion of everyday art in the structure of amateur performances, the traditional understanding of its boundaries is significantly expanded, which, as it is often believed, do not go beyond the socially organized sphere. This traditional approach is associated with a fairly widespread view of artistic culture as "certain socially sanctioned results of artistic activity together with socially approved forms and methods of this activity."

At the same time, in the basis of amateur performance, as N.G. Mikhailova, "... lies a certain dynamic balance of the spontaneous creative impulse of the individual and the organized forms of the mass social and cultural movement." However, amateur performances are often presented only as "a socio-pedagogical system controlled (by state bodies, public organizations) ..." This view of amateur performances is widespread not only in theory, but also in practice. It leads to two extremes: either social institutions ignore spontaneous forms of leisure artistic activity, or attempts to transfer to these forms the processes of nonspecific external regulation, regulation, and management that are contrary to their nature.

At the same time, in the process of research, we put forward the statement that amateur performances can be both controlled and self-developing.

In this study, the concept of "organization" in the psychological aspect was previously indicated. The concept of "organization" in relation to amateur performances in the ordinary sense is most often used at the level of everyday ideas and is pronounced as "organized" (or unorganized) amateur performance. To clarify this concept, which is closely related to the concept of "leadership", one should turn to the sociological aspect in the definition of the concept of "organization". In a relatively new branch of sociological science - the sociology of organizations, several dozen definitions of this concept have been developed, among which the following can be distinguished: - "an organization characterizes the ordering of parts, which forms a unity (whole), which acts in reverse so that the whole contributes to the preservation of parts" (N. Winner); - the organization can be considered as "organized parts, between which communication occurs" (W. Ashby); - "an organization is a set of rules and disciplines" (materials of the Parisian house of trade); - “organization is a system of interrelated behavior of a certain part of persons” (G. Saimen); - “an organization is a target community ... uniting people for the sake of such a goal that cannot be achieved by any of them separately, although it is important for everyone” (AI Prigozhiy).

Model of organizational and methodological support for the functioning of amateur pop-instrumental groups

An analysis of the philosophical, art history, psychological and pedagogical literature on the problem of the functioning of amateur pop-instrumental groups showed that the organization of amateur groups in modern society, despite the high educational and pedagogical potential of amateur art, is not systemic. The systemic nature of the activity of amateur pop-instrumental groups can be said only if the system "reality - personality of the artist - works of art - personality of the performer - performance of works of art - reality", implemented in amateur art, will be aimed at changing or correcting personal qualities members of amateur groups. In this process, first of all, it is necessary to pay attention to the formation of the motivational sphere of performers as the basis for the rational functioning of amateur pop-instrumental groups.

In the analysis of the problem, the role of the motivational sphere of the performers of amateur collectives is somewhat contradictory.

So, N.G. Mikhailova distinguishes two types of motivation. The first is determined by a person's attitude towards the result of activity (to create a new creative product: a concert program, an author's work, individual manner, style). The second type of motivation is an attitude toward the process of activity: toward inclusion in the collective as a social community of interest to the subject, satisfaction from communication in the process of joint activity, psychophysiological relaxation, self-development and social recognition in the collective. The second type of motivation can be understood as communication and relaxation in the broadest sense of the word.

A.P. Markov also distinguishes two types of motivation for members of amateur groups. However, to a greater extent they affect the subject-subject relationship in amateur pop-instrumental groups - instrumental relationships characterized by the orientation of the group members to the object, and, ultimately, to the creation of an artistic product. Expressive relationships are aimed at interpersonal ties and contacts, at communication with each other and the leader (the subject of activity).

Despite these differences in positions (A.P. Markov tries to modify the subject-subject relations, N.G. Mikhailova operates with the concepts of “process-result”), both authors have two common characteristics of motivation - focus on the actual artistic subject of activity and to meet non-artistic social and psychological needs.

New trends in the activities of modern amateur pop-instrumental groups require new approaches to the organizational and methodological support of the functioning of amateur groups. In this regard, the modeling method is of particular importance, which in this study reflects the system of elements that reproduce the sides, connections, functions, conditions for the rational functioning of amateur pop instrumental groups. Modeling is based on a certain correspondence (but not identity) between the investigated object (original) and its model. Thus, when applying the modeling method, it is important to proceed from the fact that the model itself is not an end in itself, but only a means of studying the object that it represents, being with it in relation to some similarity.

Preliminary modeling of the organizational and methodological support for the functioning of amateur pop instrumental groups includes the process of processing the necessary information, as a result of which schemes of goals and tasks of education are formed, correlated with certain real objects of amateur groups. Preliminary modeling appears to be a kind of advanced stage before the practical verification of the ways and conditions for the rational functioning of modern pop-instrumental groups.

The content of the model is based on the conceptual foundations of ensuring the functioning of an amateur pop instrumental group in modern conditions (see 1.1). The model correlates with the structure of the artistic culture of society, which is a part of society and includes: goal; the essence of amateur performance, considered as a process and result of creative activity; the pedagogical potential of amateur performances (the polyartic nature of amateur art); the structure of amateur performances; types of organizational structures of amateur performances; levels of organization of amateur performances; functions of organizing the process of amateur performances; types of amateur pop-instrumental groups; specific features of the methods of organizing amateur groups; conditions for the functioning of amateur groups; types of activities of amateur groups.

In the model, the defining goal is to create organizational and methodological support for the functioning of amateur pop-instrumental groups. Achievement of this goal presupposes the use of the following most important, previously identified, blocks of amateur performance and amateur art as its subsystem: 1. The essence of amateur performance, found in the process of creative activity, is: - the core of artistic culture; - a specific original layer; - secondary (reproductive) methods and products of artistic activity; - specific goals, content, methods, means and organizational forms of functioning; - an important means of aesthetic education of a person. 2. The essence of amateur performance, revealed as a result of creative activity, in this study is determined by: - \u200b\u200bthe creation of new artistic products; - performance in a new interpretation of the works of amateur and professional authors; - improvisational creativity; - the creation of new ways of artistic and productive activity. 3. The pedagogical potential of amateur performances, which consists in its polyartistic nature of amateur performances, depends on: - the characteristics of the creative process; - the content of the artistic activities of the participants; - the artistic level of the musical repertoire. 4. The structure of the organization of amateur performances includes: - institutionalized types of amateur organizations (management block, collectives (club, student, children's, etc.); - non-institutionalized types of amateur organizations. 5. Types of organizational structures of amateur performances are: - rigid, regulated, stable and flexible, variable; - internal (the structure of management and its substructures) and external (external relations of the team); - formal (visible part) and informal (with a pronounced personal coloring) 6. Levels of organization of amateur performances are presented: - leisure group; - the degree of orderliness of activities; - organizational activity.

Methodology for the functioning of the activities of amateur pop instrumental groups

For the successful functioning of amateur pop-instrumental groups, the organization of the activity of amateur pop-instrumental groups is of great importance. In this regard, we have done the following work: a) analyzed the motivational sphere of the participants of amateur pop-instrumental groups; b) the activity of the leaders of amateur pop-instrumental groups was analyzed (on the example of the Grodno region of the Republic of Belarus); c) the specificity of the activity of professional, educational and amateur pop-instrumental groups is analyzed also on the example of the Grodno region of the Republic of Belarus.

For all three positions, substantive characteristics are given in detail. I. The motivational sphere of the members of amateur groups. By the nature of the object and subject, it is a pedagogical experimental research; by the specifics of the tasks being solved - projective, constructive, practice-oriented, methodical; by the nature of the experimental situations - selectively controlled; on the grounds for classification - field, natural, actively directed; according to the logical structure of evidence - consistent, i.e. there are no control groups here. The evidence is based on a comparison of the states of the investigated object before and after exposure to the factor under investigation. The independent variable in the study is the amateur pop-instrumental group.

At the level of the ascertaining experiment, a list of motives (attitudes, orientations, relationships, needs, interests and other characteristics) of the participants of four amateur pop-instrumental groups of the Grodno region were analyzed; two orchestras (the youth pop orchestra "Caprice" of the Grodno State University and the pop orchestra "Accent" of the Novoelnensky city House of culture of the Dyatlovsky district of the Grodno region); two ensembles (the Jewish music ensemble “Shalom” of the “Panorama” music center in Lida and the popular music ensemble “Nota Bene” (from the Latin “Pure note” of the Mostovsky district House of Culture of the Grodno region).

The selected amateur groups (two ensembles, two orchestras) have similar creative characteristics (see Appendices A-1; A-2; A-3), but different regional features (large and small cities).

As dependent variables, on the basis of which it is possible to determine the attitude of the participants of amateur groups to activity, the orientations of the participants to the types of activity in amateur pop-instrumental groups were determined. For the first time such a category was used by E.I. Smirnov and G.N. Golovanov. Based on the previously designated types of activity, most clearly represented in the practice of amateur collectives and the specifics of their functioning, the following variable orientations were identified: Subject orientation or orientation towards objective activity. Cognitive orientation or orientation towards cognitive activity. Communication and joint recreation as a realization of the need for informal communication, often not related to art. Public orientation as a measure of the expression of the participants' interest in using the collective as a field of public interest activities. Creativity, as an original, individually colored activity, serving to a certain extent as a means of the author's artistic self-realization.

The peculiarity of this classification is that it takes into account not only the abstract-categorical level of activities of amateur groups (as in the classification of M.S. Kagan (71; 72], but also practical. Identification of orientation is based on the choice of participants in experimental groups of desired events in the work plan, that is, the proposed activities in considering the motivational sphere of the members of amateur groups were selected by us as an indicator of the corresponding orientation. Therefore, the methodology for identifying the orientation was called "Methodology of prestigious events" and it was presented to the participants in the form of a questionnaire "Your suggestions for the work plan of the collective "(See Appendix B-4).

Each orientation was represented by not one but several sentences. For example, the orientation towards social activities was determined by the participants' evaluation of such proposals as: “to prepare by the collective forces an evening of rest dedicated to the International Day of Music, etc.”; "To provide the help of the collective and individual participants to the musical collective of the secondary school"; “To organize by the efforts of the collective an association of fans of musical variety art”. The rating of the proposed activities was assessed using a five-point system.

Ivanova Lilia Nikolaevna

• Specialty VAK RF13.00.05
• Number of pages 273

CHAPTER I. CONSISTENT-CULTURAL FUNCTION OF THE LABOR COLLECTIVE AND ORGANIZATION. SELF-LEADING ARTIST. CREATIVITY

§ I. Participants of amateur performances in work collectives as a type of leisure community

§ 2. Features of mass amateur performances c. the work collective as socially. cultural phenomenon ".

§ 3. The system of functions of artistic, amateur performance. labor collective.

CHAPTER P. SASHDETESHYU ART Tshrchestsh IN THE ENTERPRISE AS AN OBJECT OF PVDAGOGICAL MANUAL

§ I. Pedagogical leadership as a condition for the successful development of amateur art. creativity in the work collective

§ 2. Principles of the organization of maso art. amateur performances in work collectives. ... ... ... 1X

§ 3. Ways to activate the amateur art. creativity in the labor collective. ...

Findings.**.

Recommended list of dissertations

• Development of rural amateur performances in 1945-1991: on the example of Stavropol and Kuban 2012, candidate of historical sciences Grinev, Vadim Vladimirovich

• Pedagogical conditions for the development of social and cultural activity of workers in the club 1984, candidate of pedagogical sciences Romanenko, Lidia Pavlovna

• The activities of the folk theaters of the Middle Volga region to raise the ideological, political and cultural level of the masses in 1959-1980. (based on materials from Kuibyshev, Penza and Ulyanovsk regions) 1984, candidate of historical sciences Mazur, Boris Naumovich

• The history of the development of folk art of Stavropol and Kuban: 1945-1985. 2003, candidate of historical sciences Sorokina, Anna Yurievna

• Teaching guidance for amateur choral performances. 1990, Doctor of Pedagogical Sciences Chabanny, Vladimir Fedorovich

Dissertation introduction (part of the abstract) on the topic "Development of amateur artistic creativity in the work collective"

The socio-political and spiritual progress of society, as noted at the XXI1 Congress of the CPSU, is closely related to the progress of the economy, with the successful implementation of the program of communist construction in our country / 22, p.52 /. In this regard, the improvement of all aspects of the activity of labor collectives acquires increasing importance: it is here that the fate of plans for the country's economic and social development is decided, material and spiritual values \u200b\u200bare created, creative growth is carried out, the social and cultural activity of Soviet people is manifested.

In the conditions of scientific and technological revolution, a qualitatively new situation is created, when the comprehensive development of each worker "is important not only for himself, but also for improving production" / 193, with "54 /, That is why the labor collective is interested in organizing and regulating cultural activities. Management of the development of amateur artistic creativity in the work collective is the public management of familiarization with cultural activities, it is ultimately management, the development of social and production activity of workers,

Nowadays, amateur performances are the object of close public attention. This is due to the increased impact of cultural factors on the entire complex of work, life and free time of Soviet people. The social status and personal value of culture is increasing as a sphere of development of the essential powers of workers, the identification and implementation of their creative talents and ways.

1 Hereinafter, in brackets, the first number denotes the serial number in the list of references given after the main text of the thesis, and the second - the page of the cited work. abilities. Under these conditions, the amateur artistic creativity of the members of the labor collective turns out to be an important factor in communist education, self-realization and raising the cultural level of the individual.

Many scientists mark today the activation of the masses as a subject of culture / 293, p. 16 /, This is evidenced by the growth in the number of participants in amateur performances - currently there are 28.7 million people / 62, s, 3 /.

To substantiate the relevance of this study, it is essential that in modern conditions the social situation is characterized by an increase in the role of the working class in the life of society. Workers in 1981 accounted for more than 2/3 of the able-bodied population of our country / 22, p.52 /, Therefore, the cultural growth of society is closely related to the level of culture of the working class, which under socialism acts as a driving force not only material and technical, but also cultural progress , the bearer of new forms of social creativity.

Raising the cultural level of workers, as noted in many party documents, is a matter of utmost importance. At the same time, there is a significant amount of data showing that amateur associations and club art groups largely represent the movement of the intelligentsia. Workers in amateur choirs - in cinema lovers' associations, etc. - $ 12.5 / See: 197, С.5 & -57 /,

In the club institutions of the village workers and collective farmers make up about 1/3 of the participants / See: 131, p, 149 /. In the working environment, forms of participation in cultural life predominate, which do not require serious efforts or intense attention from a person. According to A, Bulygina, for example, almost $ 90 of young workers in Taganrog prefer passive consumption of cultural values \u200b\u200b/ See ,:217, pp. 59-60/. The predominant orientation towards home forms of spending leisure time, towards the consumption of spiritual values \u200b\u200bto the detriment of such activities as technical and artistic creativity was also noted by employees of the sociology of culture sector of the Institute of Economics of the Ural Scientific Center of the USSR "2.2% of respondents in the cities of the Sverdlovsk Region See: 135, p. 89-90 /,

In modern conditions, the pedagogical possibilities of amateur performance as a means of realizing the abilities, talents of workers, raising their cultural level do not raise doubts.At the same time, working people who are most interested in aesthetic development, in strengthening the vanguard role in all spheres of society, are insufficiently included in active cultural process.

This is one of the real contradictions in the distribution of workers' free time, a social problem, for the solution of which both the further development of knowledge in this area and the corresponding managerial efforts are necessary. It is no coincidence that the resolution of the Central Committee of the CPSU "On measures for the further development of amateur artistic creativity" (1978) sets the task of involving the broad masses of workers in amateur performances, creating the necessary conditions for practicing artistic creativity both in clubs and at enterprises, on collective and state farms , in the red corners and halls of institutions. The work collective is viewed as a channel for the functioning of artistic culture, which allows you to reach those who, for various reasons, are excluded from the cultural process. The resolution also emphasizes the need for further scientific research of the problems of amateur performances / 31, p, 62-66 /,

Without changing the relationship between the consumption of culture and participation in creative and creative activities in the field of culture, it is difficult to realize the possibilities of free time as the most important factor in the harmonious development of the individual. The full use of free time from a moral and aesthetic point of view, enrichment of the spiritual life of the working people, their upbringing on communist ideals is the actual ideological requirement of the party at the present stage / 26, p * 13 /. All this sets the task of finding new forms of involving various categories of workers in the sphere of creative activity,

The USSR law "On labor collectives and enhancing their role in the management of enterprises, institutions, organizations", adopted by the ith session of the Supreme Soviet of the USSR on June 17, 1983, states that it is labor collectives "that are called upon to increase the material and spiritual wealth of the country, to show tireless care for the members of the labor collective, for the improvement of their working conditions, life and rest "/ 39, p # 3 /. The labor collective - the basic unit of socialist society - is primarily entrusted with the tasks of raising the cultural level of workers, broadening their cultural horizons, developing social activity, manifested both in labor activity and in various types of amateur creativity.

The analysis of practice and the research carried out confirm that the development of amateur artistic creativity in work collectives is one of the important ways of introducing the working class to culture and art, and changes the ratio of passive and active forms of participation of workers in cultural life.

The constant increase in the role of amateur artistic creativity in work collectives as a factor in communist education, comprehensive self-realization of the individual determined the choice of this study.

When choosing a topic, it is also significant that the study of amateur art in a work collective corresponds to the research work of the Higher Trade Union School of Culture, in particular, the Department of Amateur Art and the Problem Research Laboratory of the Communist Education of Workers. The author of the thesis has been taking part in sociological research of club and workshop amateur performances in various regions of the country since 1978. The interest in this topic is also determined by the author's many years of personal experience in managing groups of amateur workers in the city of Gatchina (Leningrad Region) and in the city of Leningrad.

The artistic and creative activity of the members of the work collective is a phenomenon that has different levels of organization, a rather complex structure that reflects the variety of forms and methods of artistic self-realization of the working person. Mass intracollective amateur art activity, which originates at the level of the primary collective, functions mainly at the level of an intermediate collective: a workshop, department, site or other subdivision of the main labor collective (shop amateur activity) is the least studied here. "

The relevance of the work is determined by the need for a theoretical, pedagogical substantiation of the managerial position in relation to amateur creativity in work collectives. Along with enterprises in which the development of artistic creativity has become a tradition, where every 5-7th worker is engaged in amateur activities (for example, the Belokalitvensky metallurgical plant in the Rostov region, the Dneprospetsstal and Kommunar plants in the city of Zaporozhye, the Sverdlovsk plastics plant and etc.), there are enterprises where there is practically no amateur performance or the managerial and artistic and pedagogical level of work is insufficient.

Sometimes they even try to justify the absence of mass amateur performances. Conversations conducted with employees of club institutions, trade union bodies, and administrative employees of enterprises revealed the following positions in these cases: I) it is much more difficult for shop art groups to achieve a high artistic level of performance, so there is no point in creating them; 2) active participation in amateur performances negatively affects labor activity; 3) the independent activity of workers is localized in the club, and this is quite enough.

These positions, which we have to face, indicate that the insufficient degree of knowledge of the phenomenon, its current place in the functioning of the artistic culture of society leads to an underestimation of the artistic and pedagogical possibilities of mass amateur creativity in the work collective, the attitude towards it as a surrogate for amateur performance, its lowest level. The existing practice of an undifferentiated approach to its development that does not take into account the peculiarities of the nature and functioning of mass amateur performances leads to the fact that management efforts are ineffective. There is a noticeable gap between the social requirement of vigorous activity on the development of amateur artistic creativity in the work collective and the level of theoretical security necessary for the successful implementation of this requirement.

The need for scientific development of the problem is determined by insufficient study of the real possibilities of socio-cultural and artistic and creative activities in the work collective. Until now, most of the dissertations, sociological research were carried out on the materials of amateur performances organized by club institutions, Mezdu, the share of adult participants in amateur art, organized by trade union committees of labor collectives, is very significant: in the Zaporozhye region of the Ukrainian SSR in 1980, it was $ 50, and in the Rostov region of the RSFSR - over 30% of the number of adults participating in amateur art?

A brief review of scientific works in the area under consideration will outline the scientific situation that led to this study. In the works of M. A. Ariaroky, D. M. Genkin, E. Ya. Zazersky, G. G. Karpov, A. O. Pint, E. I. Smirnova, Yu. A. Streltsov, V. E. Triodin, R.K. Shemetilo and others on the theory and methodology of cultural and educational work, club studies outlined a range of important issues for this work of party leadership of cultural and educational work, the further development of cultural and educational work as social creativity of the masses, the expansion of the cultural and educational functions of the labor collective, the methodology for the development of amateur art creativity both in club institutions and in labor collectives.

Among the publications related to the study of amateur performances and closely leading to the problems of our research, we note the works of T. A, Kudrin oh, N.G. Mikhailov oy, A.G. Mikhailik, V.P. Odintsova, V.V. Savelyeva, L.G. Safonova, E.I. Smirnov oh, 30. E, Sokolovsky, V.S, Chulochnikov and others.

In this series, a prominent place is occupied by the monograph by FI Prokofiev "The Artistic Creativity of the Masses in the Conditions of Developed Socialism" (Kiev, 1978). In the work, which is defended as a doctoral dissertation, FI Prokofiev not only gives an analysis of the current state of the phenomenon, but also a forecast for the future, developing the well-known thoughts of K. Marx and F. Engels about the art of communism:

The data are given according to statistical reports (forms Ш 9,10,. 12), stored in the current archives of the Rostov and Zaporozhye ISPS. to conclude that in the future communist society the artistic creativity of the masses will function with full rights. The tendency to expand its subject is fully realized, which coincides in volume with society as a whole, since artistic creation will be a constant occupation (to one degree or another) of every member of society. Mastery in amateur art rises to the level of the "second specialty", in the process of which the capabilities of each subject of creativity, taken in its developed form, will be exhaustively realized "/ 175, p.78 /, According to F.I.Prokofiev,"., The main link of development amateur performances - labor collective "/ 175, p.304 /.

The dissertation takes into account recent research on this topic, which was reported at scientific and scientific-practical conferences, symposia, etc., in the abstracts of dissertations, in magazine and newspaper articles, methodological materials and other publications.

Generalization of positive experience and interesting observations of the nature of amateur, artistic creativity in work collectives can be found in MM Gitman / Od .: 89, issue, Sh, p, 39-62; 205, p.113-138 /, In the brochures of P. A. Pavlov "Mass artistic creativity of workers" (M., 1978), G. I. Kashlikov "Guild artistic amateur performance" (M., 1979), in the publications of the magazines "Club and amateur performances "and" Cultural and educational work "presents, mainly, factual material from the practice of labor collectives and club institutions of various regions of the country on the development of amateur creativity, From dissertations on amateur artistic creativity and cultural and educational work in labor collectives is the closest, the problems of this work are the studies of G, A, Akopyan (L, 1982), Ya.V. Akhuashvili (L, 1981), B, Yu, Berzin (Frunze,

1977), G.V. Makedonskaya (Restov-na-Donu, 1979), L.NLodoba S.L., 1979), S.V. Rozhdestvenskaya (L., 1980).

The works of the named authors substantiated the conclusions about the presence of specificity of management in various subsystems of social and cultural activity (Ya.V. Akhuashvili), about the need to optimize cultural processes in the production team as a condition for involving all team members in the achievements of socialist culture (B.Yu. Berzin) , about the growing role of cultural functions in the practical activities of the works. collective in a developed socialist society (G.A. Akopyan, T.V. Makedonskaya), about plans for the economic and social development of the labor collective as an information source of cultural and educational activities of the club in the labor collective (S.V. Rozhdestvenskaya), about the possibilities of artistic initiative in the development of social activity of workers (L. P. Pod about a). Note that, speaking about the development of amateur artistic creativity at the enterprise, L.P. Podoba means amateur performances organized on the basis of a club institution. The study of amateur performance, localized directly in the work collective, was not included in the tasks of its research.

In these works, the possibility and necessity of influencing the development and functioning of amateur art in the work collective is recognized and postulated. These works provided the starting points and posed many questions that merged into the objectives of our study.

We can agree entirely with the fact that ". Considerable experience has been accumulated in the implementation of the cultural and educational functions of the socialist labor collective. But many aspects of the organization of the social and cultural activities of workers in free time require theoretical and practical verification / 213, 0.119 /. the task of the relation of amateur artistic creation in the work collective is intended to solve this study.

The above considerations, in our opinion, confirm the social significance, timeliness of the research and make it possible to formulate: the purpose of this work is to give a pedagogical substantiation of ways to activate amateur artistic creativity in the work collective on the basis of the revealed specificity of the phenomenon; initial assumptions: 1) about the presence of the specificity of amateur artistic creativity in the work collective, which manifests itself in the own characteristics of the subject of activity, in the motivation of participation, in the content of the activity (repertoire), in the set of types and genres of artistic and creative activity, in the features of functioning, in the principles organization and subject of pedagogical leadership; 2) on the presence of significant socio-cultural and artistic-pedagogical opportunities for amateur performances of the work collective; research objectives:

Analyze the peculiarities of the nature and functioning of mass amateur performances in the work collective;

Substantiate the principles of pedagogically expedient organization of amateur art in work collectives;

The object of the research is the participants and organizers of amateur artistic creativity in the work collective in the process of social and cultural activities. \\

The bases of the study were labor collectives and club institutions of the Zaporozhye, Rostov, Voronezh, Leningrad, Sverdlovsk regions. The Zaporozhye region of the Ukrainian SSR was chosen as the main base region for generalizing experience and sociological research. The choice was determined by the opportunity to study the results of the implementation of the target comprehensive program for the development of amateur artistic creativity in labor collectives, called the "Zaporozhye three-year plan" (1974-1977), as well as a high level of work in this respect in subsequent years (1978-1982).

The choice of the Rostov region as a region, labor collectives and club institutions of which served as the main bases for implementation, control studies, verification and additional testing of the results, was determined by a significant similarity with the Zaporozhye region in the structure of industry, in the share of the urban population, in the level of development of amateur art. Objective socio-cultural factors (historical experience of cultural development, peculiarities of cultural traditions, the state of the cultural environment) and the organizational and methodological structure, the level of training and experience of cultural workers and leaders of amateur performances are also comparable. The choice of basic facilities in the Rostov region was carried out on the basis of the same principles as in the Zaporozhye region.

The subject of the research is the ways of pedagogical influence on the process of development and functioning of amateur artistic creativity of the members of the labor collective.

Methodology. The study of amateur performances in work collectives is based on the provisions of historical materialism as a general sociological theory set forth in the works of K., Marx, F. Engels, V.I., Lenin. In particular, this work was based on the position of Marxism-Leninism about the need to introduce the broadest Maos of working people to heights of culture and art / Om .: 20, p, 656-661 /, about free time as a necessary condition for the comprehensive and harmonious development of the individual; about the needs of the individual not only in leisure, but also in more sublime activity in his free time from work, about the general nature of artistic abilities / See: 7, p.217, 221; 2, p.282, 293 /, about creativity in any field of human activity as creativity and "according to the laws of beauty" (K. Marx) / 8, p.556, 607, 620 /, which determines the important role of art in general and the amateur artistic creativity in all-round development, enrichment of the aesthetic experience of the individual.

An essential methodological aspect of the work is associated with Lenin's thesis on the relationship under socialism of the planned organization of the production process and the provision of "full well-being and free all-round development of all members of society" / 9, p.232 /.

These provisions have been further developed and concretized in modern conditions in the program documents of the CPSU and the Soviet state, materials of the XXIU, XXY, XXY1 party congresses, resolutions of the CPSU Central Committee, articles and speeches of Yu.V. Andropov and other leaders of the party and government on topical problems of ideological work , communist education, cultural and educational work, on the problems of the activities of socialist labor collectives.

Of great importance for this work were the provisions on strengthening the role of the working class as the leading political force in the society of mature socialism / 22, p.52-53 /. about the growing role of artistic culture in modern conditions /23, p. 7 &-79/, about amateur creativity as a characteristic feature of the socialist way of life, the "needs of millions" / 56, p. 18 /, about the need for a comprehensive solution of ideological and educational tasks with taking into account the characteristics of various groups of the population / 23, p.74 /.

The strategy of this research, which has a pedagogical character, was the Marxist-Leninist dialectical method. Amateur artistic creativity in labor collectives was considered in development, in a natural relationship with all ideas, with the nutritious and cultural and educational work of the CPSU, the Soviet state, social organizations of the labor collective, club institutions and the media.

Since our research is pedagogical, a significant role in the development of the methodological foundations of the research was played by the works of N.K. Krupskaya, A, B, Lunacharsky, M, I, Kalinin on the theory of communist education, the work of outstanding figures in pedagogical science A.S. Makarenko, V., A. Sukhomlinsky, famous Soviet scientists Yu.K. Babansky, B.G. Likhachev, G.L. Smirnov and others.

The methodological function in relation to this study was carried out by the conclusions of particular sociological theories, in particular, the sociology of personality, the sociology of culture and the theory of social management.

In the works of E.A., Anufriev, G.S. Arefieva, 0, F. Bukhalov, V.V. Vodzinskaya, N.S. Mansurov, V.A. Smirnov and others, social activity is considered as an integral property of a personality, manifested in labor, socio-political, cognitive and socio-cultural activities of a person. In this regard, we consider amateur artistic creation within the framework of the work collective as a manifestation of the artistic and creative activity of the individual. At the same time, its pedagogical guidance makes it possible to transform it into socio-political and socio-cultural activity, which has a positive impact on the sphere of work, knowledge and everyday life of workers.

In the works of A. I. Arnoldov, L. A. Gordon, S., N. Ikonnikov oi, M. T. Iovchuk, L.N. Kogan, Yu.Adukin, V.N.Shmenova, E.V. Sokolov and others, according to the Marxist-Leninist theory of culture, an increase in the role of free time in the process of forming a harmoniously developed personality is justified, and amateur performance is considered as a social institution , intended for the all-round development of man, for the production, distribution and consumption of spiritual values, as a new form of democratic folk culture.

An important role in the development of the methodological foundations of the study was played by the publications prepared by a group of employees of the cultural sociology sector of the Institute of Economics of the UC AS OSOR under the guidance of Professor L.N. Kogan. We especially note the collective monograph Cultural Activity: The Experience of Sociological Research (Moscow, 1981). The monograph examines the peculiarities of cultural activity, gives its typology depending on the method of implementation, the nature of the activity, the level of satisfaction of needs, the scope of manifestation and localization at the place of its implementation / 135, p.24-25 /. Amateur artistic creativity in a work collective is a special form of group cultural activity in the circle of workmates / 135, p.97-106 /. (Note, however, that this form of cultural activity is not covered in detail in the monograph).

The study of works on the Marxist-Leninist theory of culture made it possible to note the theoretical and methodological aspect associated with exposing the views of bourgeois culturologists (E. Schizl, H. Orte-ga-y-Gasset, etc.): "Art exists for artists, not for mass ".1" "" Statement by H. Ortega y Gasset quoted in book: 69, p. 28.

A special facet of the problem of cultural activity is the management of the sphere of cultural relations, based on the specificity of the phenomenon and the United Nations development trends. This aspect is directly related to the topic of our research. It is reflected both in the aforementioned monograph "Cultural Activity" and in a number of works on the theory of social management by such scientists as V.G. Afanasyev, A.K. Belykh, L.S. Blyakhman, I.M. Bolotnikov, A.P. Bedanov, G.G. Vasiliev, A.M. Omarov, D.I. Pravdin, V.M. Shepel and others.

The works of these authors determine the approach to such aspects of managing the development of amateur art in the work collective as a planning system "coordination of efforts of various organizations and departments, methodological support, personnel, control and incentives. Let's note the paramount importance of the theoretically substantiated in these works and practically implemented in many cases the system of long-term planning of economic and social development of labor collectives, including the issues of rational organization of workers' free time, the development of amateur art.

The problem of the development of amateur artistic creativity in work collectives is the junction of the problems of social psychology, pedagogy of the work collective, theory and methods of cultural and educational work. Therefore, the theoretical basis of this study included the works of S.Ya.Batyshev, L, P. Buyeva, V.G. Ivanov, V.N., Ivanov, L.I. Ivanko, A.G. Kovalev, L.N. Kogan, G.G. Karpova, AC Frisch and others on the socio-psychological and pedagogical problems of labor collectives.

Fundamentally important for the theoretical equipment of the research was the collective monograph "Socialist Workers' Collective: Problems of Spiritual Life" (Moscow, 1978), which reveals the social essence of the work collective, analyzes its pedagogical functions, shows the role of collectives in the formation of an active life position, readiness to fulfill both professional and social and cultural functions. The authors of the monograph convincingly show that the all-round development of each person "becomes the main condition for the successful functioning of the team itself" / 193, p.60 /.

Of great importance for this work were the studies of employees of the sector of social and psychological problems of labor collectives of the IOEP Zh USSR under the guidance of Professor B.D. Shrygin, in particular, on the study of the socio-psychological climate (SNES) of labor collectives.

The concept of B.D. Parygin assumes that a favorable SNK ensures the maximum involvement of a person in activities / See: 161, p.65-66 /. Inclusion, on the other hand, is a condition for the social and economic efficiency of an individual's activity in a work collective. Parygin's conclusion about interpersonal communication between members of the work collective in their free time (in particular, in conditions of amateur creativity) as one of the factors in the formation of a favorable SPK is also significant for us.

The nature and method of research. The purpose, objectives and methodology of the study determined its nature and methodology. On the one hand, they study the specificity and artistic and pedagogical possibilities of amateur artistic creativity in the work collective, the advanced experience of its organization, social factors influencing it, and on the other hand, a system of measures is developed to influence the development of the phenomenon in the direction necessary for society.

In the study of the best practices of amateur performances of 31 work collectives, various methods were used: formalized interviews with heads of shop collectives: 62 repertoire maps and 42 interviews were received. Informal interviews, study of documents and statistical materials, analysis of periodicals (local and large-circulation) were also widely used in order to determine the assessment of activities by the public; observations during the preparation and conduct of reviews and competitions. Particular attention was paid to statistical materials, published and archived; plans for social development, decisions and resolutions of the party, Komoomol and trade union organizations of the base regions and labor collectives, plans of ideological commissions at party committees, commissions for cultural work of trade union committees of enterprises were studied; work plans, reports of club institutions, minutes of jury meetings and work plans of organizing committees and artistic councils for the development of amateur creativity at enterprises were analyzed; the repertoire of shows and competitions of guild art groups was evaluated on the basis of consideration of 121 concert programs.

In addition, the study used interviews with a rating function, those conversations with people who acted as competent judges. They assessed the role of amateur performances in the communist education of workers in the development of cultural and educational work at the enterprise, the possibility of a club institution in influencing the development of shop art groups. 43 interviews were received.

The dissertation is also based on the study of data obtained as a result of a questionnaire survey of participants and leaders of amateur performances in labor collectives. Specific sociological material was obtained jointly by the Department of Amateur Arts and the Problem Research Laboratory of Communist Education of the Workers of the Higher Trade Union School of Culture with the direct participation of the author of this work.The survey was conducted in the Zaporozhye region of the Ukrainian SSR in May 1978.

2410 participants of amateur performances in labor collectives and 1626 participants of club collectives were interviewed. The final sample of the amateur performance of labor collectives amounted to $ 4.6 to the general population, which, taking into account the preliminary zoning procedure, ensured obtaining sufficiently reliable results. The method of comparison, parallel study of amateur performances of labor collectives and club institutions helped to identify the specifics of the subject of activity, the content and forms of organization of amateur artistic creativity in labor collectives.

In the course of the study, the results obtained at the main bases were compared with statistical data and materials on the development of amateur art in other regions, experimental work was carried out in the Rostov region, during which the proposed program for coordinating the activities of clubs, administrations and public organizations of enterprises and institutions, selection of the content and forms of work in the work collective, a program that provides the most optimal combination of labor success and activity in amateur creativity.

Scientific novelty of the research. The qualitative uniqueness of mass amateur performances in the work collective is revealed, which consists in its mediation by the labor process and the social life of the work collective, in the impact of relations that have developed in the sphere of labor on the sphere of leisure. This is manifested in the peculiarities of functioning (connection with the beginning and end of work cycles), in the peculiarities of the repertoire (obligatory local theme and orientation to the immediate environment), in a special socio-psychological nature, due to the closeness of thoughts and feelings of performers and audience, as well as in the peculiarities of motivation where concern for the prestige of the work collective prevails, the need to enrich communication and relaxation.

This reveals a significant natural commonality of mass amateur performances in a work collective with traditional folk art, and also allows us to see in it a special type of leisure community that significantly complements the amateur art groups of club institutions in the context of cultural and educational work.

Amateur amateur performances in the work collective are distinguished by a greater democratic composition of participants, the inclusion in it of those categories of workers whose ties with culture are impoverished, and other features that are presented in the protected provisions as a complement to mass amateur performances in the work collective.

A system of pedagogically instrumented organizational actions has been developed, depending on the stage of development of socio-cultural activities in the work collective, which ensures the expansion of the subject of pedagogical leadership in the development of amateur art to the work collective as a whole.

The practical significance of the research lies in the development and implementation of a pedagogical program for the step-by-step activation of amateur creativity in the work collective, which allows: at the first stage to ensure the mass involvement of workers in the sphere of cultural and educational work of the work collective; at the II stage - the broadest possible participation of those working in artistic creation, the allocation of amateur performances as a relatively independent subsystem of ideological, educational and cultural and educational work in the labor collective; at stage III - the enrichment of the ideological, social and artistic content of the activities of leisure associations, the systematic performance of artistic and civic functions in the work collective and (partially) outside of it, the coincidence of high artistic and labor productivity of workers.

Implementation of this program as a whole and in certain aspects (improving planning and work with public leaders, expanding the assistance of clubs to labor collectives, organizing shows and festivals of amateur art at enterprises) into practice, cultural and promotional work of Rostov, Leningrad, Murmansk, Kuibyshev regions of the RSFSR The Byelorussian SSR confirmed the instrumental nature of the program and the legitimacy of its use in organizing free time and amateur creativity of workers.

The conclusions of the research as a special topic are included in the courses and special courses of the relevant departments, as well as the faculties of advanced training of the Higher Trade Union School of Culture, VTSOPS, LSZH named after N.K. Krupskaya, advanced training courses at the Lengoris Regiment of Oma, at the ISPS the cities of Vladivostok, Kag-liningrad, Krasnoyarsk, Sverdlovsk, Simferopol, Kharkov, ensuring the improvement of training and advanced training of the personnel of leaders of amateur groups and methodological organizers of cultural [educational work and amateur performances.

The results of various stages of work were reported in speeches at scientific and practical conferences and scientific and creative meetings of specialists for a total of 2 times, which contributed to the development of a public assessment and approbation of the research results.

The purpose and objectives of the study, its methodology and methodology, theoretical and empirical materials obtained during the work, determined the structure of the thesis, consisting of an introduction, two chapters, a conclusion, a bibliography and annexes.

The introduction reveals the methodology, provides a review of the literature and a general description of the work,

In the 1st chapter "Social and cultural function of the work collective and the organization of amateur artistic creativity" mass amateur performances of work collectives are analyzed as a special type of leisure activity, the development of which is an objective need of the work collective, while the system of functions of amateur artistic activities of the work collective is considered.

In the second chapter, "Amateur artistic creativity at the enterprise as an object of pedagogical leadership", the main attention is paid to the peculiarities of pedagogical leadership, the principles of organization and ways of activating amateur artistic creativity in the work collective.

In the conclusion, the main scientific conclusions, submitted for defense, and practical proposals for the development of amateur artistic creativity in work collectives are presented.

The appendices contain tables containing the main statistical and sociological material, materials for generalizing advanced experience in the development of amateur creativity in work collectives.

Similar dissertations in the specialty "Theory, methodology and organization of social and cultural activities", 13.00.05 code VAK

• Artistic enlightenment in a collective of amateur creativity 1985, candidate of pedagogical sciences Kachenya, Galina Mikhailovna

• Pedagogical features of the formation and development of the club team 1984, candidate of pedagogical sciences Volovik, Vadim Adolfovich

• The history of the formation and development of amateur performances in Buryatia: 1923 - late 1950s. 2000, Candidate of Historical Sciences, Antonova, Marina Sokratovna

• Pedagogical conditions for the upbringing of collectivism among students of vocational schools in the process of engaging in amateur art (on the example of the work of amateur orchestras of folk instruments) 1984, candidate of pedagogical sciences Terekhov, Pavel Petrovich

• Artistic education of villagers by means of amateur folk theater (social and pedagogical aspect) 1984, candidate of pedagogical sciences Kovalenko, Mark Ivanovich

Thesis conclusion on the topic "Theory, methodology and organization of social and cultural activities", Veledinsky, Valery Georgievich

1. The concept of "pedagogical leadership" in relation to amateur artistic creation in a work collective can be considered in a broad and narrow sense. Pedagogical guidance for the development of guild activities, interpreted in a broad sense, covers the purposeful impact of the subject on socio-economic conditions, the organization of mass creativity, as well as maintaining the functioning and regulation of socio-cultural activities in accordance with the specific pedagogical tasks of amateur performances of the work collective. In a narrow sense, pedagogical leadership covers the activities of the head of a guild art association, subordinating the artistic and creative process to educational goals and objectives, affecting for these purposes on interpersonal contacts, self-government, etc. in the union.

2.In the conditions of the work collective, there is a subject of pedagogical leadership that is uniquely rich in pedagogical capabilities, uniting within the framework of a formal organization (organizing committee, council of labor and culture, etc.) initiators and organizers of educational and educational influence, on the one hand, and tending to expand to the work collective as a whole, on the other.

3. The development of amateur artistic creativity in the work collective involves the creation of socio-economic conditions that activate the individual as an individual subject of creativity (objective factor), the presence of pedagogical guidance (subjective factor), as well as the special nature of their interaction (the environment "turns on" creativity), which creates the mechanism of functioning of the guild's initiative and providing an optimal combination of the needs of society, the collective and the individual.

4. Pedagogical management of the development of amateur artistic creativity in the work collective assumes the following directions of influence: ideological (on the awareness of the tasks of society, the work collective, on a more optimal correspondence of the repertoire to these tasks); socio-political (to expand the contribution of amateur guilds to mass agitation and propaganda using artistic means! ®); socio-psychological (on the awareness of the need to develop amateur creativity, on the attitude towards it as a social value on the formation of public opinion); administrative and organizational (to improve the organizational structure, to improve the qualifications of personnel, to improve socio-economic conditions).

5. As the principles of organizing social and cultural activities in the work collective, one can single out:

Taking into account the socio-cultural situation in the work collective and the peculiarities of the workshop amateur performance;

Combinations of public (representatives of the labor collective) and professional (club specialists) leadership;

Unity of party, administrative and public leadership;

Providing guidance for guild art associations (reliance on the psychological, pedagogical and creative potential of leaders who are able to unite the artistic aspirations of the members of the associations);

Complex social and pedagogical programming based on plans for the economic and social development of labor collectives

6, An effective tool for enhancing amateur artistic creativity in the work collective are targeted comprehensive programs that give impetus to the development of workshop amateur performance at the level of the region, industry, work collective and create stimulating conditions for the manifestation of individual activity,

7, The implementation of the target comprehensive program in the work collective depends on the level (or stage) of development of the socio-cultural activities of the team. Taken in their sequence, these stages are a program for activating amateur artistic creativity in the work collective, for involving workers in cultural activities.

8, In work collectives with traditions and experience of socio-cultural activities (third stage), the most effective ways to activate amateur artistic creativity are:

Strict periodicity of contests for cultural and educational events, reviews of amateur guilds, contests for certain types and genres of art, creating a system of prospects throughout the year;

Improving the work of shop art groups;

Conducting the final events of reviews and competitions in the form of amateur art holidays, expanding the impact of the guild's amateur performance on the work collective as a whole;

Teaching, improving the pedagogical and special qualifications of the hands of public leaders;

Encouraging participation in amateur art.

CONCLUSION

The real process of the development of the culture of socialism consists in the expansion and deepening of its various forms, in the formation of its new areas, proceeding from the diversity of the working people's needs for creativity. The functioning of artistic culture in the work collective seems to be an effective means of raising the cultural level of workers, enriching the artistic culture of society as a whole.

Public practice and the conducted Ioological research give grounds to assert that the development of cultural-pro-advisory work (and its integral part - amateur artistic creativity) directly in the labor collective meets the needs of the society of developed socialism, the labor collective itself and the individual. This is evidenced by the nationwide discussion and adoption of the Law of the USSR on labor collectives and increasing their role in the management of enterprises, institutions, organizations.

Originating as a means of satisfying a person's needs in the further development of their creative powers and talents, the artistic and creative activity of a person in a difficult team acquires social significance due to the fact that the development of the creative potential of workers is a real basis for the spiritual and scientific propaganda of their goals and objectives, aestheticization and decoration of the world of work are an objective need of the work collective.

These reasons put forward the need to find pedagogically grounded ways of activating and guiding the development of amateur artistic creativity in the work collective.

The research carried out for this purpose allowed:

Reveal the specifics of maso artistic amateur performance, localized directly in the work collective, as a special type of leisure socio-cultural activity;

Determine the artistic and pedagogical capabilities and advantages of the guild amateur performances;

To substantiate the principles of the pedagogically expedient organization of amateur artistic creativity in the work collective;

To develop a pedagogical program for the activation of amateur art creativity in the work collective.

The study fully confirmed the initial assumptions.

The empirical data and social facts obtained made it possible to discover the qualitative originality of the mass amateur performance of the work collective as a special type of leisure activity, which is characterized by:

The predominance of participation motives associated with concern for the prestige of the work collective, the need to expand the circle of contacts, relieve mental stress and compensate for the negative factors of the world of work and everyday life;

Greater natural community about traditional folk art;

The close relationship between a set of art associations, a repertoire about the nature of work, the composition and tasks of the work collective;

Uniquely rich subject of pedagogical leadership, with a tendency to expand to the workforce as a whole;

The presence of groups with different systematic classes;

Higher controllability, based on the cohesion of the labor collective, on the initiative and a high level of consciousness of its members;

Greater social and demographic homogeneity of the composition.

The qualitative uniqueness of maso artistic amateur performance in the work collective is revealed, which consists in its mediated by the labor process and the social life of the work collective, in the influence of relations that have developed in the sphere of work on the leisure offer. This is manifested in the peculiarities of functioning (connection with the beginning and end of work cycles), in the peculiarities of the repertoire (obligatory local themes and orientation to the immediate environment), in a special socio-psychological nature, due to the closeness of thoughts and feelings of performers and audience.

This reveals a significant natural commonality of mass amateur performances in the work collective with traditional folk art, and also allows us to see in it a special type of pre-educational community, which significantly complements the amateur performance collectives of club institutions in the system of cultural and educational work.

As shown in the work, Maos amateur performances have significant advantages, among which are: greater efficiency in influencing the work collective of the artistic value born from his life and more accessible due to the identification of the performer and the viewer;

The situational nature of cultural activity, ensuring greater harmony of work and artistic creativity;

Possibility of increasing the proportion of workers involved in amateur artistic creation;

The opportunity to extend the time of active cultural activity of groups of workers who, due to circumstances, are excluded from the cultural process in the club.

The results of the work done also made it possible to confirm that the guild amateur performances contributes to the cultural level of the participants, positively affects the social and psychological well-being of the individual, expands the range of his social connections and relations. Through the process of artistic and creative activity, the members of the work collective gain a deeper understanding of life, more acutely experience the beauty of the world around them and human relations. Guild amateur performances contribute to the formation of socialist civilization, the creation of a more full-blooded and happy lifestyle for people.

Guild amateur performances consolidate and emotionally enhance the impact of mass agitation and propaganda, strengthening the ideological unity of the work collective. The activity of art guild associations contributes to the improvement of the socio-political substructure, value-orientated cohesion of the work collective, satisfies the actual socio-cultural needs of the "immediate environment", aestheticizing the work, life, and leisure of a particular industrial community.

The stated results confirm the hypothesis of significant socio-cultural and artistic and pedagogical possibilities of amateur performances of the work collective.

The practical value of the study is determined by the identification of socio-psychological and socio-organizational conditions that activate the personality as an individual subject of creativity (objective factor), the specifics of pedagogical leadership (subjective factor) and the same nature of their interaction, the axis that creates the mechanism for the functioning of the workshop initiative and provides an optimal combination of personality needs , the workforce and the general public in general. On this basis, the principles of the pedagogically expedient organization of amateur artistic creativity in the work collective were determined:

Taking into account the social and cultural situation in the work collective and the characteristics of the shop floor; a combination of public (representatives of the labor collective) and professional (club specialists) leadership;

Unity of party, administrative and public leadership;

Providing pedagogical guidance of shop art associations (reliance on a psychologist on the ** educational and creative potential of leaders-social activists who are able to unite the artistic aspirations of members of associations);

Complex social ^ pedagogical programming based on plans for the economic and social development of labor collectives.

These principles form the basis of the pedagogical program for the activation of amateur artistic creativity in the work collective, carried out depending on the stage of development of socio-cultural activity in the work collective as a system of measures to engage in amateur creativity, personal self-realization, solving social problems facing the work collective ... Thus, the UN research tasks were solved.

The proposed program is a social and tactical form of convergence of personal attitudes towards artistic and creative activity and the needs of social development. Pedagogical management of the development of amateur artistic creativity in the work collective provides a space for the creative activity of specialists in specific areas of this stage of the socio-cultural activity of the work collective, which is diagnosed by the specialists themselves. Specific tasks and work program are formed depending on the pedagogical situation existing at this stage in the work collective, and are transformed depending on its changes.

The study confirmed that targeted integrated programs are an effective tool for enhancing amateur artistic creativity in the work collective. The implementation of such a program in the tenth five-year plan in the conditions of the Zaporozhye region of the Ukrainian SSR made it possible to provide, at the expense of amateur guilds, a total increase in the chiol of participants in artistic activities for DE75-1980. At the same time, in approximately equal conditions in the Rostov Region, the guild amateur activity provided only 13% of the total increase in the participants in the amateur activity. The preliminary results of the development of mass amateur performances in labor collectives of the Rootovskaya, Leningrad, Murmansk, Kuibyshev regions, the Byelorussian SSR, obtained during the implementation of the results of this work, also confirm the effectiveness of the proposed program for the gradual development of amateur artistic creativity in the labor collective.

The study made it possible to note the reserves of increasing the impact of the labor collective on the cultural activities of participants in the labor process.

The generalization of the development experience confirms the conclusion about the need to increase the role of administrative and economic leaders in the development of social and cultural activities in the work collective. The more interested the leadership of workshops and departments are in the initiative of the working people and club institutions in organizing leisure and the all-round development of the working people, the richer and more versatile.

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Ministry of Culture of the Republic of TyvaGOU SPO "Kyzyl College of Arts named after A.B. Chyrgal-oola " Course workSubject: Pedagogical features of the formation and development of a creative amateur collective of a fourth-year student Chayan Grigorievich Mongush department "SKD and NHT" specialization "Choreographic creativity" Checked by: R.М. BulugunKyzyl - 2011 1

CONTENTIntroduction ……………………………………………………………………… .. 3 1.1. The concept of amateur performances, their types and genres ........................................... .................................................. ..................... 4 1.2. The development of artistic activity in the 60-80s …………………. 5 1.3. Pedagogical features of the creative team ………………… .. 6 Chapter 2. Amateur performance as a social and pedagogical phenomenon2.1. The specifics of an amateur association, as a pedagogical system …………………………………………………………………………… 7 2.2. Forms and methods of educational work in a creative team ... .... 19 2.3. Formation and development of the amateur collective "Depo" ... ... ... ... .... 23 Conclusion ................................................. .................................................. ......... 29 List of references................................................ ............................................... 33 Application. 2

Introduction I chose the topic of the term paper - " Pedagogicalfeatures and formation and development of the teamcreative amateur association», Because this topic is directly related to the professional activities of the club employee. After all, we, strawberries, work with participants in amateur art activities, organizing their activities. While working on this theme, I set myself target to analyze the development of amateur performances and their forms and methods of educational work in a creative team. For this I have to decide tasks: Define amateur performances and find out choreographic amateur performances as a type and genre of artistic activity in Russia; Find out the development of artistic activity in Russia; Find out the meaning of amateur performance as a social and pedagogical phenomenon; Find out the forms and methods of educational work in a creative team; Find out the development of the amateur collective of Tuva. Chapter 1. Amateur art and its development1.1.The concept of amateur performances, their types and genres3

Amateur art is rooted in traditional folk art. Folk art is artistic folk art, folklore, artistic creative activity of the people. In folk art, the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, dreams of justice and happiness are embodied. It was the historical basis of the entire world artistic culture. Amateur art is one of the forms of folk art. It includes the creation and performance of works of art by amateurs performing collectively (circles, studios, folk theaters) or alone (singers, readers, musicians, dancers, acrobats, etc.). Various types and genres of amateur performances developed unevenly. Choral, theatrical and partly choreographic amateur performances are somewhat reduced. At the same time, there is a growth in vocal and instrumental ensembles, film and photo associations, agitation and artistic teams, collectives of fine and decorative applied arts. At the same time, only in the state cultural institutions of the country there are currently 50 thousand amateur associations and clubs of interest, of which 16 thousand are of artistic art history. and participants in third place. It is approximately equally widespread both in the city and in the countryside. Process 4

the development of amateur choreography is accompanied by the appearance in the country of dozens of folk ballet theaters, staging performances of various genres. Folklore dance groups and ensembles of classical dance are developing. One of the most promising forms of development of amateur choreographic activities are schools and clubs for ballroom dancers. Such clubs can have a complex structure, including a number of creative sections (performing, art history, film-photo group), as well as sections for organizing public events (evenings of relaxation and dancing, concerts, etc.) 1.2. The development of amateur performances of the 60-80s Amateur art activities of the USSR 60-80sAmateur arts - non-professional artistic creativity of the masses in the field of fine and decorative applied, musical, theatrical, choreographic and circus arts, cinema, photography, etc. In pre-revolutionary Russia, art lovers united in circles and societies at clubs and meetings. There were also workers' circles, folk theaters, which were under the strict control of the authorities, who were suspicious of any popular initiative. Amateur collectives arose at clubs, houses (palaces) of culture, factories, factories, educational institutions, military units, collective farms, state farms, in transport, etc.

The work of the amateur club team is directly organized by its leader, who recruits participants, planning and conducting educational and concert performance activities. The leader is obliged to regularly conduct training sessions lasting at least three hours. The body of public self-government is the general meeting of participants, which is elected by the collective council. Amateur collectives who are actively involved in communist education, having a high ideological and artistic level of repertoire and performing skills, educational and educational and creative work, can be awarded the title of "national amateur collective". General management is carried out by the artistic director. 1.3. Pedagogical features of the creative team.In modern reality, great attention is paid to the psychology and ethics of pedagogical communication. Today, more than ever, such problems become relevant. This is due to the development of a democratic society in our country, in which a person comes to the fore as a person, a person who requires attention and a benevolent attitude. Such relationships are not alien to the work of the creative team, the effectiveness of which largely depends on the pedagogical tact of the teacher. The success of the entire team depends on how correctly the team leader chooses his style of work. Chapter 2. Amateur performance as a social and pedagogical phenomenon 2.1. The specifics of the amateur association as a pedagogicalsystems6

Self-activity, like any objective activity, has objective results: the rationalizer has his proposal to reorganize the production process, the theatrical collective has a performance, the propagandist has a report, etc. The obviousness of objective effectiveness makes amateur organizations similar to similar production organizations, which has led to the idea that amateur organizations should, in principle, be managed as well as similar professional ones. Supporters of such views only make allowances for some of the external features of amateur performance (lack of special training for participants, fatigue after the main work, etc.). An amateur organization differs from a similar industrial, professional organization in principle, as a qualitatively different system. Individual components in these systems — industrial and amateur — show only superficial similarities; their internal characteristics turn out to be their own, but, most importantly, the connections and dependencies between the components are special. Schematically, the structure of any organization can be represented in the following main components: 1. Organization or management unit (including goals, objectives, program, leaders, means of their influence on the managed object, etc.). 2. Managed object (materials, people, means of achieving goals and objectives, etc.) 3. The actual activity, process, interaction (having content, form, duration) .7

4. The actual result (results). Control unit Controlled process object of activity Result:As noted above, when considering the functions of amateur performance, it is a predominantly pedagogical system, functionally designed to improve the individual or a group of participants in the amateur performance. Organization of creativity in the system of amateur performance tasks Amateur organizations are extremely diverse. In fact, there are no two collectives that are alike even within the same genre or type, for example, two identical folk theaters. They differ in the composition of the participants, the creative positions of the leaders, the environment in which they have to act, and many other conditions. Amateur organizations differ even more depending on their affiliation with specific types of activity. Some collectives are artistic and performing, others are artistic and critical, author's. But there are also other classes of amateur performance, besides artistic: technical, scientific, socio-political, etc.

It is absolutely clear that the question of the tasks of the creative work of amateur groups cannot be solved by deriving in some way general, unified tasks for all. However, it would be wrong to believe that the variety of self-activity gives the right to absolute discrepancy and complete voluntarism of leaders in defining the tasks of their activities. The tasks of each team, or association, can be represented as a kind of their system, representing several interconnected levels. I. The highest, highest level of tasks is the tasks of the communist education of man. These are the most common tasks facing the initiative as a pedagogical system. These tasks are general in nature not only because they determine the essence of all Soviet pedagogical systems (school, vocational school, higher educational institution, etc.), but also because they have the character of goals-objectives that need to be concretized, translated from the strategic plan in the plan of tactical management of amateur performances. If the tasks of the self-activity of others, characterized below the levels, do not show any connection with higher "general" tasks, then they lead to the emergence of socially limited, ineffective activity. II. The second level is made up of tasks that depend on the characteristics of the content of each class of amateur phenomena. They are different, for example, among amateur associations of a socio-political or technical nature. Since each of the directions existing in Soviet amateur performance also has internal subdivisions (for example, in amateur performances there are performing, author's, artistic research and other subclasses), this second 9

the level of tasks is also determined by the combination of the capabilities and characteristics of the type of culture (political, artistic, technical, etc.) III. The third level of tasks is associated with the capabilities of each relatively narrow genre or type of amateur performance. So, for example, circus groups or vocal and instrumental ensembles can solve their own problems, and they are specific for this type of amateur performance. These tasks, determined by the genre nature of a particular type of art, create pedagogical situations typical for this type of amateur performance. IV. Finally, the tasks of organizing the creative process in an amateur association should be solved taking into account the individual characteristics of each subject. Everyone has their own motives for participation, their own conditions, their abilities, advantages and disadvantages. In the special literature devoted to questions of amateur performance, most often this question is posed as "taking into account individual characteristics." However, it should be about individual programmingactivity of the subject, i.e., on the definition of tasks focused on each participant, providing optimal conditions for the disclosure of his abilities. Of course, with such a variety and interconnectedness, pedagogical work cannot be specified in detail in theory or in recommended methods of leadership of amateur performance. That is why we called independent organizations are self-programming, which, given the common functions and goals of amateur performance in each specific case, the entire hierarchy of tasks is "erected" within each association, depending on its conditions and the possibilities of an ideological, educational and creative order.10

Of course, in practice it sometimes turns out that the leader of an amateur collective generally has little comprehension of his own actions. Some actions (exhibition, concert) seem to be an end in itself, not motivated by any tasks. But these are examples of unprofessional work. One of the indicators of a professional position in the management of amateur performances is pedagogical motivation of the planned actions,as well as pedagogical logic that unites actions into their system. The basis of such logic should be a conscious interconnection of tasks of different levels. The most important, "through" moment of the system of tasks of amateur groups is the organization of creativity, which in the conditions of amateur performance turns out to be not so much a process of production of objective results that have signs creative as the process of forming the creative qualities of the participants. The task of organizing amateur performance as a creative process, undoubtedly, belongs to the general tasks, and therefore can be considered as one of the main foundations of the general methodology for organizing the amateur creativity of workers. The essence of creativity. Features of creativity of amateurs Self-activity as a socio-historical phenomenon is the sphere of creative activity of the masses. But in each individual case, independent phenomena turn out to be creative phenomena to an unequal extent.11

Before studying the features of various types of amateur creativity in the framework of the general methodology for organizing amateur performance, it is necessary to consider the most general issues of creative activity. In the shortest way, creativity can be defined as an activity characterized by uniqueness, originality, leading to the creation of something qualitatively new, which bears the stamp of socially valuable and unique. The Marxist-Leninist concept of creativity proceeds primarily from the need to form a person who is able not only to satisfactorily exist in the existing conditions, but also to creatively change them in all plans, transforming nature, social relations and people (including himself). Signs of a creative personality are independence of thought, the ability to take a critical look at previous experience and surrounding reality, to analyze and synthesize. A. S. Makarenko called these abilities “his own orientation”. It is impossible to provide a person for life with recommendations on how to act correctly in a given situation, to foresee all possible situations in which he may find himself. The formation of a Soviet person capable of independent assessment, analysis of surrounding phenomena, people, events and political information is important as a means of ensuring the spiritual wealth of the individual, his ability to resist negative influences and hostile ideology. Another sign of a creative personality is individuality, originality, uniqueness of qualities. Creative personality, according to 12

K. Marx, leaves the stamp of his own original ideas on the world. The task of developing the individual in every person from the first years of Soviet power has become important and socially significant. “Only a society that is diverse in its individual human personalities, disintegrating into clearly expressed individuals,” wrote L. V. Lunacharsky, “represents a truly cultured rich society. The herd personality easily submits to all Bonapartism and leadership. A herd person cannot be critical of what life provides him. We have to expand the features, talents, appropriate skills that a person has chosen for himself and which society has indicated to him. " It has now been proven that in whatever area such personality traits as independence, critical thinking, the ability to self-orientation and self-realization are formed, they turn into a general attitude that determines the creative position of the individual in other areas. Recent studies have shown that in the period of transition from socialism to communism, creativity in the sphere of leisure leads to “the transformation of free time into a particularly important, decisive factor in the development of the individual, to the removal of the negative influence of non-creative types of work on the personality with the help of free time. Here the opposite effect of free time on labor can be most clearly traced. However, activity in an amateur collective does not in itself lead to the formation of a creative personality. The ability to be independent, to realize individually unique things can be suppressed by the leader. It depends on the conscious direction of work to solve the problem of developing creative abilities and on the leader's ability to organize activities as a creative process, 13

providing an opportunity for individual self-realization of participants. The leader of an amateur performance, who is faced with the tasks of educating a creative personality, organizing genuine creativity and forming the participants' attitude towards creativity in all spheres of life, needs to be especially clear about and aware of the features of real creativity. One of the most important signs of creativity, as already noted, is the novelty or originality (non-standard) of the method of activity or its result, product. In scientific work, creativity is manifested either in the discovery of new, previously unknown patterns in the world of nature, society and consciousness, or in the development of new methods (techniques, methods, techniques) of cognition, research of the surrounding world. In the field of technology, creativity is a new technology for obtaining already known products and modeling (designing) qualitatively new objects, products, and samples. In the artistic sphere, creativity is also the creation of new works of art or an original interpretation of already known works. Specialists distinguish between the concepts of “creativity” and “skill”. Mastering all the best, perfect in the experience of predecessors and colleagues, high skill is called mastery. The ability to take a step forward compared to the experience of predecessors, to act individually uniquely, innovatively is called creativity. Craftsmanship and creativity are interconnected. Most often, creativity is possible on the basis of skill, although there are exceptions. If mastery is the result of school, training, experience, then creativity as an original, unexpected, non-standard solution does not necessarily manifest itself as a result of “school”. Creativity of children, primitivist artists, scientific 14

discoveries by amateur enthusiasts confirm that innovation is not possible through skill. However, it should be borne in mind that culture, broad outlook, respect and knowledge of the work of creators of various directions, styles are important points in the education and upbringing of a creative person. True, innovative creativity, naturally, is impossible without deviating from what is already known, without overcoming it. However, not every novelty or deviation from the traditional, generally accepted is a creative act. Otherwise, it would be necessary to consider creativity and destruction, mistakes in activity, leading to the emergence of "qualitatively new". In addition to novelty and originality, an obligatory sign of creativity is the social significance of the result, the progressive nature of the activity, the enrichment of the experience of predecessors. These features make it possible to distinguish creativity itself from empty originality, useless innovations and semi-literate activities, characterized only by external novelty, meaningless form-creation. The level of creativity depends on the social significance of the result, skill, as well as on the unique individual qualities of the creator. For humanity, not only the activities of geniuses and luminaries are important, but also the creativity of the masses. Culture consists of the creative contributions of the great cause of people. Each step forward into the unknown, even if it is insignificant at first glance, is of great value for the total human experience, since it is difficult to foresee what subsequent achievements it opens the way to. In principle, it is impossible to draw a sharp line between the work of professionals and amateurs. The activity of a person or a team that has signs of novelty, originality and social 15

significance that is of interest to others, objectively turns out to be creativity, regardless of whether it is professional or amateur. The history of art shows that many outstanding masters were not professionals in the strict sense of the word. And for many contemporary artists, the path to great art began with non-professional, amateur activities. Gifted people, having discovered talent in any other activity, may not change their main profession, but act in several areas of creativity. The foregoing allows us to conclude that the constructive, creative ability is available not only to professionals. Amateur activities can also be genuine creativity. Of course, it is also undeniable that amateurs are much less likely to become outstanding masters than representatives of professional labor. It couldn't be otherwise. Professional activity (artistic, scientific, technical) is carried out by people who have mastered in the process of studying in special educational institutions, and then throughout their creative life, a huge stock of knowledge, skills and abilities. In addition, the existing competitive system for filling vacancies, creative competitions, the awarding of academic degrees and honorary titles - all this allows us to constantly identify the most talented among the gifted. As far as amateur activity is concerned, the principle of our policy in this area is general accessibility. Most of the amateur associations accept everyone, regardless of the level of giftedness. Therefore, there may be very capable participants and people with rather modest abilities.16

An amateur cannot devote much time to educational and training work that brings mastery, and this makes it difficult to achieve significant results. But in activities where the result depends to the maximum extent on imagination, unexpected decision, originality, uniqueness of abilities or experience, that is, on qualities that are less dependent on training, participants in amateur performances can create truly valuable and interesting. At the same time, it is not a secret for anyone how famous and popular among the people are individual participants and groups of amateur performances, which in their skill are not inferior to the "professionals". It is therefore no coincidence that among amateurs there are people whose work arouses interest and finds recognition, for example, among masters of professional art. Considering the question of the peculiarities of an amateur's creativity, one should pay attention to the fact that an activity that does not contain novelty and originality (from an objective point of view) may have the character of creativity for the amateur himself. In order to better understand this, you need to distinguish between the concepts creationand creative activity.If in the first case, we mean both the process and the result, which have the characteristics that were discussed above, then the concept of "creative activity" includes the idea of \u200b\u200bonly the process. Creative activity presupposes the setting of a problem or the formation of an idea that does not have known solutions and interpretations. In essence, any creative activity, when the possible options are sorted out, the material is investigated, solutions are formed, has a search character.17

Essentially creative activities do not necessarily lead to outstanding creative results. A scientific problem can be only partially solved, the found construction does not have absolutely perfect parameters, the artistic image is not convincing enough. But participation in creative activity does not pass without leaving a trace for the individual: the individual's own qualities as a creative person are improved. If creative activity does not always give an outwardly visible result, then it is still important as creativity for oneself and as creativity of oneself. Amateur activity very often, while not being creative in the full sense of the word from an objective point of view, turns out to be creative for oneself in the subjective sense. The fact that amateur performance does not often nominate outstanding creators from its midst does not in the least belittle its social significance, since organized amateurism has different goals in comparison with the professional spheres of work. If the goal of professional creativity is to enrich human culture with new, outstanding samples, then the goal of amateur performance is to develop the creative abilities of the broad masses of participants of any degree of giftedness. 2.2. Forms and methods of educational work in a creative team The forms and methods of educational work can be different and depend on the nature and direction of the creative activity of the collective. 1. The teacher, starting the staging work, tells the participants about the history on the basis of which the staging is made, about life, costumes, traditions, about images and characters, about the motives of their actions, etc. All this must be prepared for the participants in a language they understand, 18

it is possible with the display of colorful illustrations, to present the material emotionally, expressively. 2. Watching special films, listening to music. Collective viewing brings the participants and the teacher closer together. A common topic of conversation appears, in which the teacher intelligently and tactfully guides the participants in the direction of correct reasoning. 3. Traditions are also brought up, of which there can be many in a team: this is initiation into choreographers, and the transition from the younger group to the older, etc. 4. The upbringing of discipline instills the skills of organization in the labor process, fosters an active attitude towards it. The teacher in the classroom awakens respect for common work, fosters the ability to subordinate the personal to the public. Conscious discipline is the discipline of inner organization and purposefulness. External discipline creates the preconditions for internal self-discipline. Participants become collected, attention in the classroom sharpens, they complete the assigned tasks faster and more clearly. 5. The performances of numbers on modern themes encourage people to meet interesting people, read modern literature, visit museums, etc. 6. Joint viewing and joint discussion of concert programs, performances of both professional and amateur groups is useful. 7. Analysis of the concert performances of the group itself. The teacher-leader must focus on both the positive and negative aspects of the program. It is important to pay attention to each participant, taking into account his individual characteristics of character. On time 19

the kind word spoken, the manifestation of support, approval will greatly help to reveal the abilities of the participants. 8. Great educational work is played by creative reports, exchange of experience between groups and creative assistance to each other. 9. Meetings with talented creative people. Their story about their profession and creativity has a strong emotional impact on the participants. 10. Leisure evenings with the participation of participants and parents (New Year, March 8, February 23, etc.). 11. An educational moment in the team is the full employment of the participants in the team's repertoire. This is an incentive to practice, as they know that none of them will be left out. 12. The study of dances of other nations will be of great benefit in the artistic education of the participants. 13. The staging of choreographic works included in the "golden" fund of choreography has a great aesthetic impact on the participants. In this case, it is necessary to remember about the capabilities of the performers. Distortion of the idea of \u200b\u200bthe performance, simplification of dance vocabulary is inadmissible. And if, nevertheless, the number is delivered, the teacher needs to remember that he is obliged to indicate who is the author of the production and who prepared the number in this group. Preparing a large form of a choreographic piece or a large general program is one of the good methods of educating the participants. The choreographic collective, in a certain sense and under certain conditions, contributes to the resolution of the participants' problems: 20

removes negative factors (complexes in movement, gait, behavior at discos, etc.); fosters responsibility (a necessary trait in the character of a little person, since the irresponsible attitude of some sometimes irritates and relaxes others); removes the tendency of "exclusivity" of some participants (this negatively affects the entire team); protects the child from unhealthy rivalry, malevolence, "star fever", which is an important task in the education of the participants. The teacher should teach the participants the ability to empathize with someone else's misfortune, the ability to defend, perhaps in spite of the entire team. Express your point of view, defend her child learns in a team. The teacher actively fosters decency, duty and honor in human relations in them, regardless of changes in their judgments and positions. Every conscientious teacher directs all his efforts to educating participants in a team. Notices all the features, observes their creative growth. For them, he makes every effort, sparing neither time nor funds for their all-round development. An experienced teacher who loves his pupils will always find an opportunity to assist a talented participant in his further creative growth. “After all, identifying and educating young talents, transferring their skills and knowledge to them, and then assisting them in their further creative growth is the honorable duty of a teacher-choreographer. And in this we, choreographers, must render each other all possible help. ”Summing up the above, it should be noted that the participants' classes in a choreographic collective are an excellent means of educating them, since: 21

1. Classes organize and educate the participants, broaden their artistic and aesthetic horizons, teach them to be neat, smart, exclude laxity and licentiousness. 2. Studying in a team, they develop in themselves a particularly valuable quality - a sense of "fellowship", a sense of responsibility for a common cause. 3. Teach participants to clearly allocate their free time, help them think through their plans in a more organized way. 4. Classes help to identify the most gifted participants who connect their destiny with professional art. 5. They determine the teaching and organizational skills of the participants. Education should take place in such a way that the child feels like a seeker and discoverer of knowledge. Only under this condition is monotonous, tedious, intense work colored with joyful feelings. 2.3. Formation and development of the modern dance group - "DEPO" The modern dance group "Depo" was founded in 2004. The group consisted of guys who had previously been engaged in other amateur dance groups. These are "Tanslima" MUSOSH # 2 of Turan, artistic director Elena Uynuk-ool and "Time out", artistic director Dongur-ool Alena Viktorovna. Both collectives constantly took part in the "Startinager" modern dance competitions and were rivals. In 2004, from the Tanslim group, TyvSU entered: Ailana Mongush, Rosa Mongush, Sendazhi Shonchalai, Kara-Kys Antonina, Chingiz Syuryun, Edik Kunchuy. Since, 22

most of the dancers were in the city, it was decided not to give up what they loved, and to continue dancing. Later, former members of the Time Out team joined the guys. Many of whom also entered the same university: Oorzhak Shenne, Oorzhak Shenne Adygovna, Onan Choduraa, Chymba Marina, Aya. Elena Uynuk-ool became the head of the new group. Since most of the children studied at the university, it was decided to represent Tyva State University. Although at the university itself, no one knew about the existence of the group. There was no room for classes, I had to study in the foyer of the Otchugash cinema. In the evenings, the guys turned to face the windows, which reflected the dancers and acted as mirrors. Pedestrians watched the rehearsals with interest; many came in and were interested in what was happening. The guys still fondly remember the cinema workers who did not kick the dancers out into the street. Elena Sergeevna brought and took her music center to the cinema every evening. The costumes for the performance were sewn themselves at night, in general, all on the same enthusiasm. In the city, qualifying round, the group took the 2nd place, losing to the "Expressia" ensemble. After the competition, an offer was received from the head of the dance group "Asia", representing Tyva State University, to join forces. So the guys were already preparing for the republican competition of modern dances in the assembly hall of TyvSU. This hall is still one of the group's rehearsal halls. In the republican competition the group of contemporary dance "Depo" took the 2nd place, having already overtaken the ensemble "Expression", but yielding to the group from Shagonar "Terpsichore". Why "Depot?"The name of the group baffles many. Why Depot? What does dancing have to do with it? In fact, the name of the group, the whole idea of \u200b\u200bit, 23

head Elena Sergeevna Uynuk-ool. It came from Germany, yes, yes. That was the name of the club in the German student town of Tübingen, where you could hear the songs of the group - "Linkin Park", since at one time Elena Sergeevna was fond of the work of the group. The Depo club was located at the old railway station. No one traveled on the railroad tracks anymore, there were no trains, but the rails and buildings remained. The locomotive whistles and station noise were already inaudible, but they were replaced by music. No one came to the platforms, but it was still noisy and crowded here. They danced there, hung out, met and fell in love. When she was 19 years old, she fell in love with this place, she was interested there. And when she returned home, she wanted a part of "Depot", Germany to stay with her. In the beginning, she really wanted to convey the atmosphere of the place, which was reflected in the performances and dances. Initially, the dances were more consistent with the name. The first dances were staged for the songs "In the end" and "Step up". But over time, the guys grew up, the repertoire changed, the productions changed. Now you can see more modern stylized, ethno-dances. Subsequently, the style of the group changed, as she herself changed. Now she is already putting something different in the name. But the name remained, which still puzzles the audience. It would seem that the gentle dance "Cranes" performed by girls and the railway depot. But the group is not going to change the name. Maybe he will return to the old style, who knows. Today for her "Depo" means new adventures, acquaintances, new cities and countries, new festivals, contests, eternal movement. If you want life on suitcases, railway romance, the one who is sick with the "festival disease" will understand it. They already know this at the Depot.24

About the artistic director of the contemporary dance group - "DEPO":Elena Sergeevna Uynuk-ool, born on March 24, 1980, a native of the city of Turan, has a higher education. In 2001 she graduated from Tyva State University. Works as a specialist in the department for the organization of extracurricular work and social issues of Tyva State University. Since 2003 he has been the artistic director of the modern dance group "Depo". Awards of the group of contemporary dance - "DEPO":2004y - Laureates of the II degree of the city competition of contemporary dances "Startinager - 2004"; Laureates of the II degree of the republican competition of modern dances "Startinager - 2004"; 2005y - Laureates of the 1st degree of the city competition of contemporary dances "Startinager - 2005"; Laureates of the II degree of the republican competition of modern dances "Startinager - 2005"; Laureates of the I degree of the dance direction in the nomination "Pop Dance" 25

republican festival of student creativity "Student Spring in Tuva - 2005"; participants of the "Russian Student Spring in Perm - 2005"; 2006 - Laureates of the II degree of the republican qualifying round "Delphic Games in Tuva - 2006"; 2007 - Laureates of the II degree of the republican competition of modern dances "Startinager - 2007"; participants of the festival of student creativity "Student Spring in Siberia - 2007" in Novosibirsk; 2008y- Winners of the student creativity festival "Student spring in Tuva - 2008", Winners of the special prize of the student creativity festival "Russian student spring in Volgograd"; 2009 - Winners of the special prize of the student creativity festival "Russian student spring in Kazan"; 2010 - Laureates of the 1st degree of the city competition of modern dances "Startinager - 2010"; Winners of the student creativity festival "Student Spring in Tuva - 2010"; Winners of the Grand Prix of the VIII Open Youth Theater Festival "White Elephant - 2010" in Kemerovo.

Team -a group of the highest level of development, in which its members are united by a single socially significant activity, are united by the desire to achieve its common goal, find opportunities in it to satisfy their interests, manifestations of individuality, a certain self-realization.

In such a group, relationships are built on the basis of mutual respect, friendship, camaraderie, mutual assistance and support, which positively affect the upbringing, training, education and development of each other. The team has a healthy public opinion, friendly moods, traditions, customs, norms of behavior, collectivism, duty, responsibility, cooperation. Its members have a strong sense of the honor of the team, the preservation and strengthening of its good name, the desire to achieve common high results that coincide with personal interests.

An important feature of the team is that it realizesyourself as a teaching force, believesin its ability to provide educational, training and other influence on its members, exhibitspurposeful activity in the implementation of influences on everyone and especially on those in need of help, support, improvement of professional skills, overcoming the difficulties experienced and existing personal weaknesses, etc.

What are the characteristics inherent in the collective of folk art? First of all, it is necessary to define artistic folk art as part of cultural and educational activities. Consequently, he must have all the features of this activity and, at the same time, specific features.

Thus, a collective of artistic creativity is characterized by both educational and artistic and artistic and performing goals and objectives, it is characterized by a dual nature, manifested in the unity of the educational, artistic and artistic and performing activities of its participants.

Let's form in the most general form the following signs of a collective of artistic creativity:

1) Assumes the voluntariness of the inclusion of participants on the basis of their formed spiritual needs and interests;

2) Organized under the guidance of a teaching staff of a certain type and genre of artistic activity;

3) Participants are directly involved in the creation of a work of art;

4) Participants demonstrate their artistic values \u200b\u200bto the audience, fulfilling the functions of their education and development.

5) With regard to amateur performances: carried out during leisure hours.

The collective of amateur performances has its own special features: a) educational, educational and artistic and creative goals common to all participants; b) artistic and educational activities common to the participants; c) performing activities common for the participants, addressed to the audience; r) establishing and maintaining in the processes of artistic and pedagogical activity contacts of the participants with each other and with the teacher; e) establishing and maintaining contacts between participants and spectators in the process of artistic and performing activities; f) the presence of a general artistic and pedagogical orientation, based on aesthetic experiences and ideas; g) the presence of cultural values \u200b\u200bof the participants.

It is easy to see that these features, taken together, distinguish the collective of amateur performances from other types of collectives. On the one hand, it has similarities with educational collectives (common educational goals and educational activities), on the other hand, with artistic collectives, for example, a professional theater or orchestra (general artistic and creative goals and artistic and creative activities based on them) on the creation and performance of works).

A. S. Makarenko emphasized: "The team is a social organism, therefore, it has management and coordination bodies authorized, first of all, to represent the interests of the team and society"

From this point of view, the collective of artistic creation is an artistic and pedagogical organization, in which, as it were, the pedagogical and artistic functions are merged, combined. The teacher plays the role of organizer and leader of the life of the team. At the same time, under his leadership, an asset consisting of the most authoritative and proactive participants, as well as those responsible for certain events - the organization of intra-collective evenings, the publication of a newspaper, etc., carries out their creative activities. similar groups, assuming common spiritual needs and interests of the participants in joint artistic-pedagogical and artistic-performing (demonstration) activities.

Team functions

What are the functions of the collective of artistic creativity? Examining papers that discuss these functions often reveals two extreme points of view. Some authors tend to identify them with the functions of the educational team, others - professional art. The specificity lies in the duality of its nature, character. Therefore, its functions artistic and pedagogical. And this is not just a collection of them, but an internal unity that represents the system in its entirety.

The initial functions are to involve people in artistic activity and communication.Serious efforts of the collectives are aimed not only at creating an interest in the consumption of works of art and folk art, but also to awaken the readiness for independent artistic activity and communication.

The artistic collective also has other functions.

Inclusion of participants in artistic activity and communication is a form of their "transition" from labor (educational) activity and communication into activity and communication, intended for their active rest.

What is the value of this feature? It characterizes the collective as a means that helps to overcome the inner inertia of a person, to move from the “wave” of labor (educational) activity to the “wave” of active rest, which requires a different concentration and effort. The team in this regard helps the participant to form the skills and abilities of cultural recreation, which has nothing to do with thoughtless pastime, devoid of true spirituality and leading to the passivity of the individual. Research has revealed a certain pattern: the more actively, varied and meaningful the participants are involved in artistic activity and communication, have fruitful rest, the more labor (educational) success they achieve.

At the same time, the collective of artistic creativity creates favorable conditions for the emergence and maintenance of a feeling of joy and optimism of the participants. Emotional experiences, permeated with deep and varied moral and aesthetic feelings, are characteristic of artistic activities and communication of participants. Therefore, let us pay attention to the role of the collective in maintaining a certain emotional state of the individual.

If the first two functions - involvement in activities and communication - pay attention to the need to attract people to an intracollective life in the artistic sphere, then the next two - on the nature of this activity and communication, which should be forms of active recreation imbued with feelings of optimism and joy. In these functions, the artistic and pedagogical orientation of the collective is not explicitly revealed. At the same time, without them it is impossible to characterize it in its entirety.

In situations where the participants experience difficulties in reproducing artistic material in their activities and communication, the leader is looking for an answer to the question - why they do not succeed in working on a work at one point or another. He looks for it by analyzing his own activities and team members. This is how an artistic and pedagogical position arises, requiring knowledge not only about a work of art and the technology of its embodiment, but also about the psychological and pedagogical processes of their transfer to participants. If in one case the head needs to own artistic and technological activities, skills and abilities in the field of a certain genre of art, to know the history and current trends in its development, to carry out artistic analysis and criticism of works, then in the second, to direct psychological and pedagogical processes, to have knowledge and skills of a teacher and educator.

Among pedagogical functions should, first of all, highlight learning function, which, as it were, picks up and concretizes other functions. For the very process of teaching art is based on the fact that the participants are already "immersed" in artistic activity and communication, as a form of recreation that brings them joy and pleasure. The function of training is to equip the participants with experience, knowledge, skills and abilities of artistic and aesthetic activity in accordance with certain educational and educational tasks on the basis of works of art and folk art.

If the participants have successfully mastered the artistic material, the means and methods of its execution, but cannot reproduce the ideological and artistic image of the work, then it is necessary to carry out the function of education. Participants must familiarize themselves with the history of the writing of a work of art, with the era in which it was created, the creative way of the choreographer (composer, playwright, poet, etc.), with artistic life and aesthetic trends, etc., with: achievements of artistic culture , national and artistic traditions and styles, lifestyle, views and ideals, as well as with the modern socio-political and cultural life of the country, republic, region
(area) .. In accordance with this, the team resolves a wide
the circle of cognitive, moral and aesthetic tasks as "inside" the chosen ("profile") type and genre of artistic
activities, and in the spheres of public and political life, culture and art. At the same time, carrying out only these
tasks, it is difficult to fully rely on success in work. In certain situations, team members cannot correctly solve problems, since they do not have an appropriate level of artistic, aesthetic and moral education. It happens that the participants agree with the leader's description that the work is beautiful, but they themselves do not experience deep emotional experiences while performing it. The underdevelopment of their moral and aesthetic feelings affects. Consequently, the leader needs to educate the participants, gradually forming their feelings, views, ideals, values, tastes. The collective of artistic creativity, thus, carries out the function of educating the participants.

Difficulties arise before the leader when he
does not satisfy the artistic and aesthetic performance of the work. It is as if the participants faithfully and faithfully reproduce it, but do not rise to a high creative level. The leader then seeks to solve a complex system of tasks aimed at developing a creative attitude to aesthetic activity and communication in a team, developing abilities and needs for a constant search and improvement in performance, to bring into it a creatively unique individual-original ideological and artistic vision and experience. Thus, the collective of artistic creation should fulfill the function of artistic, aesthetic, cognitive and moral development of the participants so that they become true creators of spiritual values.

The collective of artistic creativity also performs organizational functions. These include the organization, leadership and management of the processes of involving participants in artistic activities and communication, recreation and entertainment, in the processes of their training, education, upbringing and development. The organizational functions are also ultimately oriented towards the all-round development of the participants. Thus, the analysis of the functions of the collective of artistic creation allows us to characterize it as an interconnected system.

These functions of the artistic collective are "internal", because they are focused on solving problems within it. Therefore, one should consider its "external" functions, which are realized in the process of influencing the audience (listeners).

The artistic collective includes spectators (listeners) in artistic and aesthetic activities. On this basis, viewers (listeners) become active participants in the artistic process. Together with the author (and performers), they aesthetically experience the events and phenomena embodied in the work, strive to understand and comprehend them. Therefore, the artistic collective performs the functions of involving viewers (listeners) in artistic and aesthetic activities and communication, which occur in the process of their interaction with works of art.

The collective of artistic creation also acts as a propagandist and agitator: in an artistic-figurative form, it disseminates and affirms artistic and aesthetic ideals and values.

The propaganda function of the collective is expressed in the fact that each performance of a participant - soloist, singer or a group of participants - as part of a play, chorus, dance ensemble, etc. is aimed at disseminating and affirming advanced aesthetic ideals, values \u200b\u200band ideas.

The agitational function contains the moment of stimulating the audience (listeners) to active aesthetic actions. The speeches of the participants are designed to form their desire to create "according to the laws of beauty." The agitational function is also manifested in the fact that viewers (listeners), involved in aesthetic activity and communication, perceive the participants as their companions in their studies, work, military service, whose example they can follow. They develop a readiness for aesthetic activity, while it can be different in the degree of awareness, stability, depth.

Artistic groups perform one more function - educational. It deepens the viewers' understanding of events and phenomena, acquaints them with facts unknown to them, broadens their cultural horizons and develops cognitive abilities.

In unity with the educational function is the educational function. This is manifested in the selection and execution of the most relevant repertoire from the point of view of the ideological and artistic requirements of society, as well as in such an artistic and imaginative disclosure of the concept of the work, which effectively affects the audience, forming their moral and aesthetic feelings, ideas, ideals and tastes. The performances of the creative team awaken in the audience (listeners) artistic and aesthetic activity and independence, mobilize their artistic and creative potential. Spectators not only actively relax and have fun, receive a certain amount of knowledge and impressions, acquire valuable personal qualities, but they themselves become co-authors and co-creators of beauty. All this contributes to the formation of the aesthetic development of the viewer (listener), deeply creatively experiencing what he saw and heard and subtly feeling the beauty.

The collective of artistic creativity organizes, directs and manages the processes of involving spectators (listeners) in artistic and aesthetic activities and communication, recreation and entertainment, carries out artistic and aesthetic propaganda and agitation, contributes to the education, upbringing and development of spectators (listeners). Thus, it can be said that artistic creation is inherent in the functions of organization, leadership and management.

Thus, the collective of artistic creation has interrelated "internal" and "external" functions, the implementation of which is the ultimate goal of all its activities and a prerequisite for its further improvement.

Types of collectives

Despite the variety of types and genres of artistic activity, all groups can be conditionally attributed to several qualitatively different levels or steps.

The first stage includes those collectives - vocal, choral, dramatic, circus, dance, film and photography amateurs, fine and applied arts, etc., which accept everyone who wants to engage in artistic activities. Such collectives can be called collectives (circles) of the initial type. The composition of their participants can be either homogeneous or mixed in terms of age, education, profession, sex. Often, participants in circles of this type are those who study or work together in one educational institution - school, vocational school, secondary specialized or higher educational institution, at the same enterprise, institution, in the same workshop, department, brigade, branch of a collective farm, state farm , military unit, etc.

The educational and educational tasks of such a group include acquaintance with works of art, relatively simple, learning and performing them, as a rule, in front of “their” spectators, who most often know the participants. At the same time, certain attention is paid to mastering the elementary foundations of the analysis of works, the means and techniques of their performance.

With the accumulation of artistic and aesthetic experience, the circle members, under the guidance of a teacher, gradually move on to the implementation of more complex educational and artistic and propaganda tasks, it becomes possible for them to achieve higher artistic results. The artistic and pedagogical activity of the circle members is an important means of manifesting their social activity (participation in thematic evenings, lectures and conversations).

From among the most active and inclined towards a certain type of artistic activity, a group of participants is gradually formed for whom artistic pursuits become a serious hobby. The prerequisites are being created for the formation of an artistic group of the second stage. It can be conditionally called a collective (circle) of a higher type. In such collectives, more complex educational and educational artistic problems are solved. They are attended by amateurs who have shown artistic ability and strive to improve themselves in the field of leisure in their favorite form of artistic creativity. In contrast to the circles of the initial type, in such groups more attention is paid to art and training exercises, the study of the foundations of the history and theory of the art form, the artistic and performing repertoire becomes more complicated and the demands on its ideological and artistic embodiment and performance in front of the audience (listeners) increase. Greater attention in the higher-type team is paid to various forms of artistic propaganda: performances not only in front of "their" spectators, but also in front of those who do not know the participants, as well as trips with creative reports, participation in plant-wide, district, city, general-institute concerts and exhibitions , competitions, etc. The head of such groups must have such a professional and pedagogical qualifications that he can awaken and support the persistent aesthetic aspirations of the participants, create opportunities for their education, development and increase the level of ideological and artistic performance of works.

Along with the above, collectives are formed that can conditionally be attributed to the third stage - these are amateur theaters, folk dance ensembles, orchestras, choirs, etc. In them, a repertoire is learned and performed that requires a relatively deeper understanding of works of artistic culture. Educational and educational work in such groups takes on the character of systematic classes, in which the profile type and genre of art, technical and expressive means, etc. are studied.

In the presence of appropriate conditions, the complication of the types of educational and artistic activities entails a change in the teaching staff. In this case, the head of the collective is the artistic director who carries out the general artistic and pedagogical leadership.

The artistic director of such a group should be a highly qualified person who has special training in the field of not only the profile type and genre of art, but also history, art history, art criticism, aesthetics, pedagogy and psychology.

In such groups, two levels can be distinguished. First level - these are novice groups that have a relatively short history of their artistic life and solve ideological, artistic and educational problems of average complexity. Second leveln are collectives that have accumulated great artistic and performing experience and consist of participants who have gone through a good school of stage and artistic training. Often, for example, in the same dance ensemble, one of the primary collectives may be of the first level, and the other - of the second. Each of them has a qualitatively different structure
educational process, creates its own artistic
a repertoire corresponding to the capabilities and abilities of his
participants.

The division of collectives is, of course, more conventional. But it is necessary, because it opens up opportunities for a differentiated approach to each of them. Collectives of the highest form, for example folk theaters, orchestras, choirs, dance ensembles, are methodological centers for collectives (circles) in rural clubs and houses of culture.

As you know, for high performance in ideological, artistic and educational work, the best collectives receive the honorary title of folk. They are beacons, members of other teams measure their successes with their achievements. The best collectives become laureates of regional, regional (regional), republican, all-union and international competitions of folk art. Their programs are broadcasted on local, Central TV, recorded on records of the Melodiya company.

Circles of the elementary type are often headed by educators-social activists, collectives of the first and second levels - most often leaders with secondary specialized training, graduated from cultural and educational, music, theater schools, etc.

Collectives of the third level (first and second levels) are, as a rule, headed by leaders with higher specialized or secondary specialized education, who have extensive experience in artistic and pedagogical work.

A further increase in the requirements for the ideological and artistic level and performing skills of the participants causes the need for new organizational forms that would create the best opportunities for an in-depth study of art, mastering a complex arsenal of technical and artistic means. Therefore, along with the existing and developing forms of art collectives, studios are being created.

Studioshave their own history of development, being a specific form of training, education and upbringing by means of art. They arise on the basis of the desire to qualitatively improve the ideological and artistic preparedness of the participants.

Unlike the previously considered collectives, the studios are special educational and artistic institutions. In them, according to a special program, they study the fundamentals of the theory and history of a specialized art form, great attention is paid to classes on mastering performing and practical skills.

The studios carry out educational and artistic, creative search and artistic and performing activities. If we turn to the analysis of the diverse practice of their work, then among them we can conditionally distinguish a number of types.

First view - these are studios in which the participants, under the guidance of a teacher (teachers), study the basics of the chosen art form, form the moral and aesthetic principles of artistic activity and intracollective life. Often, such studios are created with collectives in which the main emphasis is on performing activities. Such studios are designed to help teams prepare participants for their main line-up.

To the second one can include studios that, in addition to teaching and educational work, also carry out a large performing activity. As artistic experience accumulates, they demonstrate interesting stage solutions, which are characterized by a fairly high level of performing skills, general and artistic culture.

Third kind - these are studios in which creative search activity is leading. They set as their goal aesthetic and moral education and development of participants, increasing the ideological and artistic level of the performance of works, creative search in the artistic and figurative solution of compositions. Such studios actually become creative laboratories and workshops: they work on new works of art. Studios acquaint viewers with searches and achievements in the field of a certain type and genre of art, demonstrate a fairly high level of performance of the repertoire of increased complexity. Studios are often widely involved in various forms of artistic propaganda and campaigning. As a rule, they are headed by professionally trained teachers. Studios of the third type are often run by prominent figures of professional art.

KS Stanislavsky owns a detailed description of the purpose of the studio as a center for creativity and education of students.

“The studio is the initial stage, where people should be gathered, completely consciously aware of the fact that a person's whole life is his own creativity ...“ A studio is not a place for randomly playing roles. You cannot come here with a desire at such and such a time or for such and such a necessity, dictated by random circumstances, to pass this or that role ... A student is one who in his art sees his life's work, the one for whom the studio is a family ... Entering the studio, he must enclose himself in a circle of beauty, high, pure thoughts about his work and be glad that there is a place where he can unite with people who are striving for beauty like himself.

The student is the development of human consciousness, where the idea of \u200b\u200blove for art, becoming a guiding principle, awakens mutual respect and benevolence in everyone. "

"A studio is not only a house of culture for a person entering it, it is also a house of a wise teacher, where love protects both sides - teacher and student ...".

One and the same studio can be a collective consisting of several primary collectives, each of which can be attributed to different types. So, for example, in a children's amateur choral studio, there are most often junior, middle and senior chorus groups. In fact, schoolchildren of different ages and different musical backgrounds are engaged in the studio in three choral groups, gradually "passing" from one to another.

In relation to other groups of amateur performances of the same type and genre of art in the region, the city, the studios are creative laboratories and workshops, become methodological centers for the dissemination of advanced experience in educational and artistic and creative work.

Thus, the development of artistic creativity goes along the line not only of differentiating forms, but also the integration of various types and genres of art and the formation of complex forms of an artistic collective, in which conditions arise for the implementation of more complex tasks of aesthetic education and achieving a higher level of performing activity.

Consider now classification of collections on other grounds.

By the composition of the participants, mixed and homogeneous groups can be distinguished. In mixed classes, participants of different ages, for example, from schoolchildren to pensioners, of various education and professions, are engaged. These are drama, vocal, choral and orchestral groups, collectives of fine and applied arts. In homogeneous collectives of the same types of art, participants of the same age participate. These forms are characteristic of vocational schools: they are mainly occupied by first-year students.

Amateur groups can be classified according to the leading type of educational or professional activity of the participants. Then we distinguish amateur groups, consisting of pupils and students - amateur performances of educational institutions (school, vocational, secondary specialized and higher), from people of one or a number of related professions - amateur performance of teachers of schools, secondary, higher educational institutions, builders, machine builders, textile workers and so on. The mass forms of organization are guild groups of amateur performances - vocal, choral, dance, artistic reading, etc.

It is also necessary to distinguish between groups of amateur performances of a large, medium and small city, settlement, village.

Depending on the character of the actor, the organization of educational and performing activities, artistic creativity can be individual and group. Often, individual training is combined with group forms of training. In collectives of vocal, artistic reading, button accordion and accordion and in a number of others, the individual form of work with participants is the leading one. In drama, dance, choral ensembles, educational and performing activities are carried out mainly in group and collective forms, however, individual forms of training are also assumed.

By the duration of functioning, one should distinguish between temporary and permanent collectives of artistic activity. Temporary ones are created in rest homes, sanatoriums, pioneer and sports camps, boarding houses, on basesrecreation and tourist centers. Permanent ones work for a long time.

In a club institution of one production collective, an educational institution, collectives of various levels often interact - from primary-type circles to studios and theaters.