• 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 of activating 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 the 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

• Pedagogical guidance of 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 linked with 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 work of labor collectives is acquiring 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 public management of involvement in 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 Here and below, 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 work collective turns out to be an important factor in communist education, self-realization and raising the cultural level of the individual.

Many scientists note 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 increasing role of the working class in the life of society. Workers in 1981 accounted for over 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 establishments 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 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 are oriented towards artistic creativity / 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 are beyond doubt.At the same time, working people who are most interested in aesthetic development, in strengthening the avant-garde role in all spheres of society, are not sufficiently 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 seen as a channel of functioning artistic culture, which allows you to reach those who, for various reasons, are excluded from the cultural process, The resolution also emphasized 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 searching for new forms of involving various categories of workers in the sphere creative activity,

The law of the USSR "On labor collectives and increasing 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 concern for the members of the labor collective, for the improvement of the conditions of their work, life and rest "/ 39, p # 3 /. The labor collective, the basic unit of socialist society, is primarily tasked with raising the cultural level of workers, expanding their cultural horizons, and developing social activity, which manifests itself 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, 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, the all-round 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 Communist Education of Workers. The author of the thesis has been taking part in sociological research of club and guild 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 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 a working person. Mass intra-collective artistic amateur performance, which originates at the level of the primary collective, functions mainly at the level of an intermediate collective: a shop, department, section 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, 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, causes an underestimation of the artistic and pedagogical possibilities of mass amateur creativity in the work collective, the attitude towards it as a surrogate of amateur activity, 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 activity leads to the fact that managerial 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 the 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?

Short review scientific work in the area under consideration will outline the scientific situation that led to this research. 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, further development of cultural and educational work as social creativity of the masses, expanding the cultural and educational functions of the labor collective, 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 oh, 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 of expansion of 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 possibilities 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 studies on this topic, which were 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 in various regions of the country on the development of amateur creativity. 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 specific management in various subsystems of socio-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) , on the growing role of cultural functions in the practical activities of the works of th. 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 part of the task of its research.

In these works, the possibility and necessity of influencing the development and functioning of amateur artistic creativity 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 organizing 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 subject's own characteristics, in the motivation for 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) the presence of significant socio-cultural and artistic-pedagogical opportunities for amateur performances of the work collective; research objectives:

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

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

The object of the research is the participants and organizers of amateur art 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 art in labor collectives, called the "Zaporozhye three-year plan" (1974-1977), as well as the high level of work in this respect in subsequent years (1978-1982).

The choice of the Rostov region as a region, whose labor collectives and club institutions 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 are also comparable (historical experience cultural development, features of cultural traditions, the state of the cultural environment), and the organizational and methodological structure, the level of preparedness and experience of cultural workers and leaders of amateur performances. The choice of basic objects 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 the 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. 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 activities in their free time from work, about the general nature of artistic abilities / See: 7, p. 217, 221; 2, p.282, 293 /, about creativity in any area of \u200b\u200bhuman 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 the 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 interconnection under socialism of the planned organization of the production process and the provision of "complete well-being and free all-round development of all members of society" / 9, p.232 /.

These provisions were 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 Central Committee of the CPSU, 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, public 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 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 features 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 fellow workers / 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-ha-i-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 UN 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 artistic creativity in the work collective as a planning system "coordination of efforts of various organizations and departments, methodological support, personnel, control and incentives. We note the paramount importance of 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 intersection of problems of social psychology, pedagogy of the work collective, theory and methods of cultural and educational work. Therefore, the theoretical basis of this research 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. The conclusion of BD Parygin about interpersonal communication of 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 affecting it, and on the other hand, a system of measures is being developed to influence the development of the phenomenon in the direction necessary for society.

In the study of the advanced experience 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. Non-formalized 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 possibilities of the 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 work 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 in amateur performances in labor collectives and 1626 participants in 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 organizing 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 influence 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 towards 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 performance in a work collective with traditional folk art, and also allows us to see in it a special type of leisure community, which significantly complements the amateur art collectives of club institutions in the system of cultural and educational work.

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 defended 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 and 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 the 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 creativity at enterprises) into practice, cultural and promotional work of the 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 faculties of advanced training of the Higher Trade Union School of Culture, VTSOPS, LSU 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 in the course of 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, reviews the literature, and general characteristics 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 best practices 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 VAK code

• 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 education 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

Conclusion of the thesis 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 interpersonal contacts, self-government, etc. for these purposes. 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 labor 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 for the development of 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 socio-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 complex program in the work collective depends on the level (or stage) of the development of the socio-cultural activities of the collective. Taken in sequence, these stages are a program for the activation of amateur artistic creativity in the work collective, for the involvement of workers in cultural activities.

8, In work collectives with traditions and experience of social and 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 labor 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 needs of the working people 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 and 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. Evidence of this is 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.

Born 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 and technical progress of society, and the propaganda of their goals and objectives, the 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 art amateur performance, localized directly in the work collective, as a special type of leisure socio-cultural activity;

To determine the artistic and pedagogical possibilities 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 artistic creativity in the work collective.

The study fully confirmed the initial assumptions.

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

The predominance of motives for participation 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 the set of art associations, the 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 labor collective as a whole;

The presence of groups with different systematic classes;

Higher controllability, based on the cohesion of the work 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 the maso artistic amateur performance in the work collective is revealed, which consists in its mediated by the process of labor and the social life of the work collective, in the influence of relations that have developed in the world 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 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.

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-cultural 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 conditions of the club.

The results of the work done also made it possible to confirm that the guild art amateur performance 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, members of the work collective get 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 reinforce 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-orientational cohesion of the work collective, satisfies the urgent 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 as a whole. On this basis, the principles of the pedagogically expedient organization of amateur artistic creativity in the work collective were determined:

Taking into account the socio-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 guild art associations (reliance on a psychologist on the ** educational and creative potential of community leaders who are able to unite the artistic aspirations of the members of the 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 activities 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 a given stage of the socio-cultural activity of the work collective, which is diagnosed by the specialists themselves. Specific tasks and a work program are formed depending on the pedagogical situation that exists at this stage in the work collective, and are transformed depending on its changes.

The study confirmed that targeted comprehensive 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, guild amateur activity provided only 13% of the total increase in amateur participants. 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 work collective on the cultural activities of participants in the labor process.

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, club institutions in organizing leisure and all-round development of the working people, the richer and more versatile.

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The ongoing organizational processes in the field of artistic creativity have a direct impact on the formation of a person's inner worldview. Awareness of the role of the creative cultural potential of folk art culture, musical pedagogy and the prospects of using such experience in modern cultural practice sets the task of creating conditions for a significant transformation in all spheres of social life.

Creative search, a non-standard approach to the problem of the development and formation of talent can generate interest in artistic activity. This predisposition to creativity is inherent in the very nature of man. Therefore, the XXI century defines many tasks in organizing a purposeful and systematic pedagogical process for the formation and development of the creative potential of the individual, both among the urban and rural population.

The variety of forms of amateur creativity, types and genres raises before art theorists the problem of classifying its branches from the prevailing types of orientation. These types include: professional art, folklore and amateur art. In addition, it is possible “... an embedded classification that unites groups of genres on the basis of the unity of the nature of creativity. In some cases, this is the author's amateur performance, representing the direct artistic and creative reaction of a person to reality; in others, it is amateur performance, where the participant expresses himself through a specially selected repertoire of professional and amateur authors. Sometimes in amateur performances the author and the performer are combined. " E.I. Smirnova distinguishes two main categories of amateur performance:

• 1) amateur performances in the field of consumption of artistic culture;
• 2) amateur performances in the field of the production of artistic values.

To the traditional types and genres of amateur creativity of E.I. Smirnova attributes:

• 1. Musical art (choirs: academic, folk song; ensembles: vocal, song and dance; vocal-instrumental and brass bands; musicians and singers).
• 2. Theatrical art (musical and drama groups; theaters: young spectators, puppets, poetry and miniatures; propaganda teams, groups of artistic words).
• 3. Choreographic art (folk, classical, pop, sports, ethnographic and ballroom dance).
• 4. Fine and decorative and applied arts (groups: amateur painters, sculptors, graphic artists, masters of decorative and applied arts).
• 5. Circus art (collectives of the circus and original genre).
• 6. Cinematography (photo circles, children's amateur film studios).
• 7. Technical creativity (modeling, radio electronics, clubs of inventors and rationalizers, etc.).

A.S. Kargin notes the modern aspects of amateur performances with a stable genre-specific structure, subdivided into folk and classic genres... He proposes to carry out the classification on six grounds. These include: orientation towards the development of various layers of artistic culture; consideration of types of artistic performance, as well as types and genres of art. Added to this is orientation in terms of institutional affiliation and socio-demographic composition. A large role, in his opinion, should be assigned to the identification of aspects of amateur creativity in the regions, the specifics of the development of existing forms, types and genres, their new formation. Consequently, contemporary artistic creation has synthetic, traditional and organizationally formed genres. The classification of amateur groups can be presented as follows:

Classical type (traditional): musical, theatrical, choreographic arts, visual arts

Each genre is represented by the author in different forms. For example, folklore types include: folklore theaters, groups of buffoons, puppeteers, etc. Folk singing groups have soloists, they are organized in ensembles: folk songs, folklore. This includes folk choirs. Folk instrumental and folk dance also have soloists and ensembles: folk instruments, folk dance, etc.

Revealing the traditional classical type, one can imagine musical groups in such genres and types as academic (choirs and ensembles), symphony and brass bands. Theatrical - folk theaters and new forms - musical theater, folk groups. Choreographic collectives are the dance art of the classical, ballroom, pop genre. Fine art includes painting studios, design and design art (development of sketches, etc.). Genre and species diversity, differing in the types of creativity, has further development paths in amateur performances. Since in a person from birth the makings of creative perception are already laid down, in the process of life, developing his abilities and using the experience he has acquired, a person involuntarily contributes to the manifestation of new formations in self-activity.

The opinions of researchers of amateur art have some differences in the definition of the classification of amateur art, types of activities and functions. For example, T.I. Baklanova notes the presence of several types of amateur creativity (author's, performing, improvisational and the creation of new "technologies") and types of activities that have an organizational, educational, artistic and personal basis (realization of the inner needs of the individual).

We are close to the position of E.I. Smirnova, who, depending on the goals and objectives in the activities of amateur art groups, classifies them according to the following main features:

• 1. By orientation to the main layers of artistic culture:
  • - focused on ethnofolklore types of folk, national art (with an internal subdivision into types or forms of ethnofolkloric cultural culture);
  • - focused on the types, school and styles of professional (academic) art (with an internal subdivision into types and genres);
  • - original, including types of amateur performances that have no analogue or model either in professional or folk art.
• 2. By types of creativity and orientation to the main strata of artistic culture:
  • - performing activities;
  • - author's and author's performance;
  • - improvisational.
• 3. By the degree of organization and subject of the organization:
  • - "unorganized", "informal" or self-organizing amateur performance; artistic choreographic variety
  • - amateur performance of unstable organizational forms (organized by the media, situational, etc.).
  • - organized into stable associations of different types on the basis of various sociocultural institutions, socially controlled and pedagogically guided.
• 4. By predominant type of activity:
  • - educational type associations;
  • - associations of cognitive and artistic research type;
  • - artistic propaganda and artistic organizing associations;
  • - game type;
  • - creative;
  • - associations of an integrated type with a wide range of activities.
• 5. By the place of localization:
  • - rural amateur performances;
  • - amateur art activities in small towns (with a weak artistic and professional background);
  • - amateur art activities in a large city (with a strong artistic and professional background).
• 6. By age composition:
  • - children's (primary school age, adolescents), youth;
  • - amateur art activities of adults (youth, older age groups)

Creativity and the need for self-actualization are inherent in human nature itself. However, independent activity is an activity that does not lose the free manifestation of character in organized and unorganized forms, i.e. amateur creativity.

Many researchers in the field of artistic creativity note the advantage of unorganized amateur performance, spontaneous. In most cases, it quickly appears and disintegrates, and not many of them acquire an organized form of life creation ( learning activitiesthat involves creativity; professional art; amateur performances of the masses). Such creative activity has the highest form of manifestation by a person of his creative powers and abilities.

The task of optimizing unorganized amateur creativity, helping in its organization, both in club and school, out-of-school institutions, at the place of residence, is also relevant today. The activity of the individual, the team is manifested in the process of realizing their abilities and skills in various spheres of creative activity.

In order to activate the creative process in various associations, clubs of interest and attract the largest number of participants, the organizer is obliged to creatively approach each one individually. Trying to help find the personality of "me" in any role of positive activity, the leader needs to create a single creative ensemble, in which it is easy to move from imitativeness to initiative.

Thus, in the participants of the "creative ensemble" of amateur art, the foundations of the creative method will involuntarily be laid. In generating the future nature of collective creativity in each individual, it is important to use the path of involvement in a variety of activities. This is able to revive a full-fledged spiritually moral person.

State, problems, prospects for the development of modern amateur art.

As the practice of many Russian regions testifies, society is growing with new theaters, state and public museums, cultural and leisure centers, houses of national folklore and crafts, children's art schools - in a word, in various ways to satisfy the constantly changing spiritual needs of the population.

But, unfortunately, the transformation of the political, economic and social systems of Russia could not but affect the socio-economic environment of the functioning of culture. On the one hand, today the most important social institutions for "broadcasting" cultural assets are professional creative teams of theaters, state and private concert associations, the media - radio, television and much more. On the other hand, a significant place in the preparation and transmission of "products" of culture is still occupied by amateur creative associations of palaces and houses of culture, which are now experiencing hard times... For example, houses and palaces of culture, which only yesterday were reputed to be the flagships of cultural and educational work, have lost their former role; they are either leased to random organizations, or even worse - sold under the hammer. Many of them have lost part of their structural art divisions, new types of creative groups have emerged, such as clubs for fans of guitar, jazz, art songs, etc. However, the "classical" creative associations, among which the leading place belongs to choral and choreographic groups, orchestras of folk instruments, are still actively engaged in the satisfaction and development of artistic and aesthetic demands of the population thanks to the creative potential of the members of these groups.

The time has come not only to condescendingly take into account the requests of a potential or real audience, but to put them in the basis of all today's activities of cultural institutions. A separate problem is the search for methodological forms of cultural and leisure activities. The first thing to think about here is the optimal combination of traditional (oral, printed, visual, theatrical, etc.) and innovative forms. Conditions and factors such as the availability of resources, the qualifications of the performers, the time available to the event organizers, etc. are taken into account.

With the transfer of cultural and leisure institutions to new economic conditions, the cultural activity of the population has noticeably decreased, and thereby amateur artistic creativity. Cultural workers often rely only on their own strength, not striving to create a club asset, to give it a "leisure qualification".

But the essential meaning of amateur art groups, the professions of a cultural worker lies precisely in the ability to attract people and help them in self-organization, self-determination, self-education and self-education.

In the activities of cultural centers there are not only dead ends, forcing to completely abandon yesterday's practice and the implementation of the usual cultural and leisure activities, but also problems awaiting their immediate solution. Optimization of the activities of cultural and leisure institutions lies at the intersection of several directions: a critical analysis of the experience of our predecessors and the need to take from it everything that can still work in modern conditions and contribute to solving today's problems; creative use of foreign experience (the experience of both near and far abroad is equally suitable) in organizing the leisure of the population and, finally, own tireless searches for each cultural and leisure institution, each amateur creative team and each creatively thinking cultural worker.

The influence of amateur performances on the development of modern society.

Amateur performances are rightly viewed in our time as a powerful mass movement in the field of art, as a process of creating conditions for a person's motivational choice of objective activity. Moreover, this process is determined by the needs of the individual, her interests.

The pleasure received from cultural and creative activities expands the artistic horizons of the individual, and also contributes to the implementation of the social functions of culture (educational, career guidance, recreational, hedonistic, pro-creative, self-realization, creative). It is artistic amateur creativity that most effectively contributes to the spiritual restoration of the individual through mastering the cultural values \u200b\u200bof the past and present.

One of the active forms of the cultural and creative aspect of activity is unorganized amateur performance (household choreography, singing and playing music), which is a fertile ground for satisfying creative needs and interests in amateur art. The first step towards artistic amateur creativity, of course, is the instinctive behavior of the individual. An involuntarily penetrating art, both in mass action and in the inner world of a person, is reflected in the heterogeneity of his perception and is determined by the measure that is most acceptable to the existing environment. Cultural values \u200b\u200btransmitted by tradition have an impact on the formation of the "ideal", since their life path is endless.

Thus, the essence and meaning of modern amateur performances consists in the direct involvement of broad strata of the population in art, mastering the skills of artistic creativity, in the introduction of creativity into everyday life.

The term "amateur performances" can be interpreted in two ways - in a broad sense and in a narrower, more specific. Amateur art in the broad sense is generally the entire sum of the primary manifestations of the artistic initiative of the masses, which does not imply any special forms of organization. From this point of view, everything that is created outside of professional art can be called amateur performance. Work in club and school circles, the activities of propaganda teams, the work of "unorganized" authors, songs of modern "rhapsodes", as Yu. A. Andreev christened them - all this is amateur performance, amateur performance in a broad sense. Amateur collectives are organized at factories, clubs, palaces of culture, military units, educational institutions, collective farms, state farms, etc. They consist of amateurs who combine studies in circles with their main profession.

Amateur performance acts as a kind of art practice, familiarizing with it, as a new form of organizing the masses in order to involve them in artistic creativity. The main specificity of this form is that the masses of people professionally employed in various spheres of production and services, without breaking their production ties, at the same time systematically and constantly devote part of their time to art and creativity and, as it were, receive additional - artistic - specialty.

Not every amateur art activity can be attributed to amateur performances. Amateur art activities in the proper sense of the word begin where art activities cease to be a personal affair, limited to a family or friendly circle, and acquire a more or less broad social character and social orientation. In other words, amateur performances presuppose, firstly, a certain degree of social organization and, secondly, appeal to a certain audience of viewers or listeners. And this, in turn, presupposes such a level of artistic training, at which the participants of amateur performances are able to respond with their art to the aesthetic requirements of the time.

There are areas of creativity in which the criteria for amateur performances, in principle, are no different from those that exist for professional art, and the ways to achieve mastery, in essence, are also the same. This applies to such types of performing arts, which have long and firmly mastered professional traditions: theater, drama and opera, symphony or pop orchestras, “classical” instruments, vocals, artistic reading, circus art, etc. area, cannot but equal the professional level, cannot but reach for it, not compete with it. the main problem here for her is mastering skills at the professional level, the main way is to obtain the necessary school, which, in principle, cannot be qualitatively different from that of a professional school.

The same can be said about amateur creativity in the field of literature or music. An “amateur” poet or an “amateur” composer differs from his professional brothers in creativity only in those “production” relations in which they find themselves with their creativity. Both need talent, school, and skill level.

Modern amateur performances in their predominant part (and as for the city, the overwhelming part) is guided precisely by those areas of creativity, performing arts that have reached heights thanks to great professional traditions. Naturally, it requires, first of all, qualified and completely professional leadership and creative assistance from special institutions and organizations, criticism and the press, and the artistic community.

Amateur artistic creativity attracts many people of different ages with its non-regulation, freedom and

voluntary choice of its types and forms. Since ancient times, people have sought to express their personal perception of the world through dance, drawing, song and much more.

In parallel with the aspects of scientific cognition and cognition by means of art in amateur creativity, there is a correlation between two processes - socialization and individualization. As a result of their interaction, a modern idea of \u200b\u200bthe activity of the individual is created. Being an organized aspect of cultural activity, amateur art involves both collective and individual, unorganized actions and is most accessible to everyone. A special role in it is assigned to amateurs-enthusiasts, who concentrate around themselves the general mass of the people, where each is talented in his own way. Amateur creativity is based on the ability to attract a person's intellect to the analysis of his needs, as a way of free choice of ways and forms of revealing his potential, his gifts. "... To be a person means to have freedom of choice and carry the burden of choice throughout your life, but not like a cross, but as a work that gives joy," wrote A. Asmolov. "

Freedom is the foundation of self-activity, thanks to which a person returns to his original nature of movement and, realizing it, is constantly renewed under a favorable concurrence of circumstances.

Currently, there is widespread interest in the revival of local folk customs, holidays and rituals, which suggests the need for a scientific approach to the study of modern processes occurring both in culture as a whole and in amateur art at the local level.

Professor Salakhutdinov R.G. in his book "Social and cultural creativity as an effective means of forming a cultural environment" provides a classification of social and cultural creativity, where among all the indicated directions there is also amateur art:

Amateur activities organized on folklore and ethnographic culture of the past;

Amateur art activities focused on professional art;

Mass amateur performances (music, dance, theater, art and others);

Folk arts and crafts;

Original amateur performances that have no analogues either in professional art or in folklore, which in turn has andfunction :

Public organization of socio-cultural activities of the masses of interest in leisure time;

Realization of aesthetic needs and artistic abilities of people;

Organizational and pedagogical - education of the moral and aesthetic culture of the younger generation;

Revival, preservation and development of national and cultural traditions and folk art.

Thus, several results are achieved, which R.G. Salakhutdinov called subject and educational:

Subject - these are cultural values, which include achievements in the field of artistic creativity, sports, etc.; cultural environment, i.e. culture of everyday life, labor, production.

Educational is the culture of the individual, i.e. moral, aesthetic, physical culture, environmental, economic, legal, communication culture.

Both of these results completely complement each other and affect the health of the nation and the development of modern society as a whole - society has a huge impact on the individual, but genuine inspiration is manifested when a person has determined and chosen his "valuable", and each individual has certain values \u200b\u200bthat act as a link between the culture of society and the spiritual world of the individual, between social and individual being.

Amateur art as a spiritual and moral aspect of the development of society.

Currently, the socio-cultural situation is characterized by a number of negative processes that have emerged in the sphere of spiritual life - the loss of spiritual and moral guidelines, alienation from culture and art of children, youth and adults, a significant reduction in the financial security of cultural institutions, including the activities of modern cultural and leisure centers. The current crisis situation has largely changed the norms and rules of the life of subjects and objects of the socio-cultural sphere, and recently we can talk about the increased interest of society in the preservation and revival of national cultural traditions.

“A spiritually rich talented person cannot but recognize himself as such, capable of genuine self-respect. This is a person's awareness of his moral significance and is the initial element of moral culture, which can effectively develop in the process of amateur creative activity. "

Thus, considering the issue of the current situation in the development of amateur art, we cannot but talk about the revival of the general culture of the people, the preservation and restoration of lost traditions, which provided each region with its originality and uniqueness.

In many villages, cities, traditions and customs of ancestors are forgotten and lost. The preservation and development of the cultural identity of each region, the moral existence and "energy charge" of each individual, is impossible without the direct presence of the past in the present, since the centuries-old wisdom of everyday experience is contained in the cultural traditions of each nation. Modern traditions, while maintaining the continuity of the accumulated experience, develop and overlap with the historical forms of folk art.

Currently, there is widespread interest in the revival of local folk customs, holidays and rituals, which suggests the need for a scientific approach to the study of modern processes taking place both in culture as a whole and in amateur art.

Passion for folk art and the study of cultural traditions reveals a person from the inside, affects creative consciousness, i.e. his emotional and psychological feelings are revealed through the formation of a moral and aesthetic culture, which significantly expands the circle of amateurs outside the mass creativity of club institutions, in the presence of creative self-realization.

The preservation and development of the cultural identity of each region, the moral existence and "energy charge" of each individual, is impossible without the direct presence of the past in the present, since the centuries-old wisdom of everyday experience is contained in the cultural traditions of each nation. Modern traditions, while maintaining the continuity of the accumulated experience, develop and overlap with the historical forms of folk art.

When comprehending the socio-cultural dynamics of amateur art, one has the right to talk about the process of socialization, concerning a number of features that affect the organizational forms of influence on the personality. This is the heterogeneity of the collective, the isolation of the system of which, as a result of the presence of general enthusiasm, leads to the achievement of equilibrium-uniformity of the collective. Creative amateur activity within the framework of such a group helps its members to realize their spiritual needs, to express their "I". At the same time, the originality inner peace personality is not violated. On the contrary, in the process of learning, the individual gets the opportunity to gain freedom of creative choice.

The desire for self-expression, for a fuller realization of their potentialities, is one of the driving motives in various areas of human life, including in the field of free time. Therefore, an important condition for the harmonious development of the individual is the organization of cultural and leisure activities, and in particular the organization of amateur art, which contributes to the self-determination of the individual in society. With the help of the acquired knowledge and skills, a person deepens his practical experience, self-develops, self-educates, and self-actualizes. After all, amateur art creativity as an amateur creativity is purely voluntary, not constrained by any external framework of obligation and duty, that is, normativeness as a regulator, as one of the control levers, it moves primarily by interests.

Folklore is an amateur art activity.

Folklore and spheres of its manifestation.

The spheres of culture, in which the everyday creative energy of the masses is increasingly moving, are increasingly multiplying: this is not only amateur performances, but also sports, tourism and much more. It is natural and logical that these new areas are crowding out traditional creative areas, including folklore. However, another process is taking place, which is of primary interest for our science: folklore in its most diverse manifestations, in various transformed forms and new formations penetrates these new spheres of modern folk creative life, finds its place there and reveals new opportunities for development.

Folklore studies can truly bring real social benefit if, having abandoned fruitless attempts to extend its attention to phenomena that are not under its jurisdiction, it turns to a thoughtful study of the interactions and relationships of folklore and various spheres of modern folk culture, it will become possible to take into account and systematize those related to facts and materials, based on the study of real processes, he will try to draw generalizations and make recommendations on specific problems of culture and sociology of the artistic life of the people.

In connection with this range of problems, one should also speak about the duties of folklore studies in relation to amateur performances. These responsibilities are undoubted and significant, but they have their own boundaries, their own specifics, and this must be reckoned with. Folkloristics, turning to this sphere of folk art, remains folklore - with its subject matter, with its own range of problems, it does not change either its nature or methodology. But, of course, new aspects and tasks bring something new to science without breaking its structure. Along with this, there are tendencies, the essence of which is determined by the orientation towards folklore or semi-folklore forms of creativity. These trends are heterogeneous in nature, and it is important to differentiate them in order to more clearly understand the features of the processes taking place.

Folk songs, dances, folk instrumental music take their place in the repertoire of collectives and participants in amateur performances, which are mastered in the same way as the classics, that is, through professional art and the usual forms of its dissemination - sheet music, radio, cinema, television , records, etc. A lot of works of folklore (or works that have been declared or have long been considered folklore) are now in public use through the help of professional groups and performers popular in the country. Many of these works have found their second life in the repertoire of these groups and individual artists and, as it were, merged with them.

Members of amateur performances take folklore that has already been processed in a professional (or semi-professional) environment, adapted to its aesthetics, to its capabilities and tastes, which at the same time has lost many essential qualities of folklore, its unique features, but acquired new ones that were previously absent in it ... No matter how preserved some of the folk traditions proper, amateur performances here are guided not by them, but by the result of processing.

One cannot but reckon with the fact that gradually folklore will enter into the general use of the people and the practice of amateur performances more and more often through the usual modern ways, that is, in an adapted form. All the more carefully and carefully we must treat the use of genuine living traditions of folk art in the artistic tradition.

The first and elementary form of including folklore in amateur performances is the entry of folk singers, storytellers, musicians, dancers onto the stage.

Of course, a folk song sung from the stage by a good folk singer or an ensemble formed outside of amateur performances invariably makes a strong impression on the listeners, because every time there is not a repetition of something long known, but an artistic discovery. A folk song in folk performance captivates with the freshness and spontaneity of the feeling contained in it, with the novelty and uniqueness of its performance.

One of the most important and honorable tasks of amateur performances of our time is to seek and cultivate truly folk art in its living folk forms, to introduce thousands of keepers of the folklore tradition to the amateur stage (and therefore to the amateur school) - song, storytelling, instrumental , choreographic. This work should be based on truly scientific, theoretically thought out and practically tested many times over principles and methodological techniques.

In working with folklore, amateur performances also face their own dangers. One of the main ones is the imaginary ease and apparent accessibility in the development of folklore techniques, superficiality and approximation, which very soon turn into elementary tastelessness and just hack. When performed by professional artists, a folk song usually loses this local flavor, becomes somewhat discolored, but is colored by the personality of the artist.

Amateur performances can compete with professional art, only trying to preserve the unique folklore flavor of a folk song or dance. Therefore, amateur performances should be especially sensitive to the ethnographic side of folklore. Meanwhile, it is here that amazing carelessness manifests itself. There is a set of stamps that should serve as signs of folk dances - Russian, Hungarian, Ukrainian, - songs of different peoples, just as there are details of clothing that for some reason are passed off as belonging to a certain people: boots, which are considered to be Hungarian, shirts, as it is assumed, are primordial Russians, etc.

Ethnographic illiteracy is intolerable especially in our time, when cultural ties between peoples have become everyday life, when not so much effort is needed to find or make clothes and props that correspond to national characteristics with the help of case sources, and when, finally, concern for the cultural past becomes the most important business of our community.

To what extent do amateur performances listen to that new that arises outside of it and on the approaches to it in our days, to that modern - complex and variegated in nature, composition and aesthetics - creativity, which some call out of habit or by conviction folklore , others - mass and which, in its diversity and unusualness, does not fit into the framework of either professional art or traditional folk art?

It is obvious that folklore, semi-folklore and other forms of creativity continue to develop and transform, presenting a kind of parallel to creativity that takes place within the framework of amateur performances. One does not exclude or replace the other; rather, each finds its place in the artistic life of the people and performs its functions. However, there is neither a blank wall between them, nor, in some cases, a clear demarcation. This is quite natural for our time, when in general the cultural processes taking place in various spheres are mutually permeable and mutually reversible.

The role of amateur performances as a socially organized force is, in particular, to reveal in mass creativity, in general spontaneous, fast-flowing and subject to rapid changes, what deserves or requires consolidation and preservation, further popularization, and perhaps development on new artistic principles.

Selection of repertoire for amateur groups. Requirements and criteria.

The point of view of convergence of the artistic and performing level

amateur and professional creativity is true to

a small part of amateur groups. The main, overwhelming mass of them in this indicator is significantly inferior. Therefore, in order to ensure normal activity, they need their own repertoire, corresponding to the specific characteristics of the collective and the functions it performs.

The correct selection of the repertoire is a crucial moment in the work of amateur groups. The repertoire fosters the artistic taste of the collective members, expands their general educational and cultural range. Only a correctly selected repertoire, both artistically and technically, contributes to the creative growth of the collective, to the enhancement of its performing skills.

The repertoire should be ideologically meaningful and artistically valuable, diverse in its content and correspond to the theme of participation.

The problem of the repertoire for amateur performances is

attention of practitioners, the public, composers, choreographers,

playwrights. There is the question of creating such a repertoire for an independent collective, which, not yielding in terms of the ideological and aesthetic level of the repertoire of professional orchestras, choirs, theaters, would be available for amateur performance and would not copy the work for professional groups in form, language, style.

Their main tasks are: organization of work to create

an interesting and full-fledged repertoire for amateur groups, the selection and organization of orders for new works of art for choirs, orchestras, agitation and artistic teams, scenarios for theatrical holidays and mass performances; analysis and control over the compilation of the repertoire of amateur performances.

There are two ways to create such a repertoire. At first,

To "adapt" the existing particular group and, secondly, to create new original works designed for amateur performance.

The first path is often associated with significant changes in the author's text, play, song, dance, and the like, because amateur artists cannot always perform difficult passages, complex psychological scenes. In the choice of such pieces and works, one has to be especially careful, carefully study the possibility of their performance, the quality of the arrangement, instrumentation, interpretation. It happens, unfortunately, that after a careless or poor-quality arrangement, instrumentation, direction of a play, song, dance, original works lose their artistic merit, are hardly recognizable, their tempo, rhythm, text, linguistic features are distorted.

Therefore, the quality of instrumentation, arrangement, transcription, that is, adaptation for amateur performances when choosing these pieces is of paramount importance.

Naturally, a work created specifically for amateur performances requires additional processing, additional "artistic refinement" based on the specific conditions and capabilities of the collective. But this path is much simpler, easier, justified in an ideological and artistic sense, because these works are already published in advance, taking into account the amateur performance.

The selection of a repertoire in modern amateur performances is not an easy task,

although, of course, unified criteria and principles for evaluating it have been developed and adopted, it is replenished by all the best that is in the artistic treasury of society. These difficulties are associated primarily with the fact that each collective has its own inherent technical and artistic relationships, in accordance with which the leader has to choose plays. Long and difficult educational, rehearsal work may not give a positive effect - pedagogical, artistic, if a work of overestimated difficulty was taken and they did not cope with it, or vice versa, it turned out to be easy, not requiring strenuous searches, showing everything that the performers are capable of.

Similar requirements apply to collectives of any genre - dance, choral, orchestral (folk, variety, spiritual).

One of the criteria for choosing a repertoire is its reality,

correspondence of the repertoire to the technical and artistic capabilities of the collective.

The problem of the educational repertoire has to be solved mainly in the first period of the team's work, when the participants master performing skills, develop initial aesthetic positions, and establish close mutual understanding with each other.

Works for training should be interesting to the participants and not present, especially at the first stage, major technical and aesthetic difficulties.

Such a repertoire contributes to the rapid improvement of the skills of the participants, the development and consolidation of playing skills; develops performers' interest in folk art, in collective activities, enriches the spiritual world, inner culture, aesthetic tastes.

In turn, the concert repertoire, along with the requirements that it must meet as an educational one, also has a number of qualities. With its help, broad artistic and performing and socio-pedagogical tasks are solved.

Another group of works introduced into the repertoire of amateur groups is associated with folk songs, folk dances, folk instrumental music. These are either interesting adaptations, transcriptions, or original doubts created on their basis. Nevertheless, in every region of Russia and other union republics, local dance, singing, and musical characteristics that have developed since time immemorial are preserved. A careful attitude towards them, their propaganda is one of the important tasks of amateur performances.

Folk songs, dances, dramas are clear and simple. But that doesn't mean

the simplification of their content. The works of folk art captured the history of the people, their soul, age-old hopes and aspirations. They are enduring spiritual wealth, a source of inspiration. In any audience they are greeted with special warmth and exactingness, which is why the leader's responsibility for the nature of the interpretation of a folk song or folk dance is so great.

List of references

Vishnyak A.I. Tarasenko V.I. Culture of youth leisure. - Kiev: Higher school, 1988-53s.

A.S. Kargin. "Educational work in an amateur team." Moscow, "Education", 1984

Kamenets A.V. Activities of club institutions in modern conditions: Textbook. - M .: MGUK, 1997-41p.

Kisileva T.G., Krasilnikov Yu.D. Fundamentals of Social and Cultural Activity: Textbook. - M .: Publishing house MGUK, 1995

Eroshenkov I.N. Cultural and leisure activities in modern conditions.- Moscow: NGIK, 1994

Municipal budget educational institution

additional education for children

Children's Creativity Center number 6

Methodical development

Topic: "State, problems, prospects for the development of modern amateur artistic creativity"

Developed by:

additional education teacher

Akhtyamova Z.L.

ulyanovsk

2016 year

Ministry of Culture of the Republic of TyvaGOU SPO "Kyzyl College of Arts named after A.B. Chyrgal-oola " Course workTopic: 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 60s-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 members of 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: Give a definition of amateur performances and find out choreographic amateur performance as a type and genre of artistic activity in Russia; Find out the development of artistic activity in Russia; To 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. 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 in folk art. It was the historical basis of the entire world artistic culture. Amateur art is one of the forms of folk art. It includes creation and execution 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, the growth of vocal and instrumental ensembles, film and photo associations, agitation and artistic teams, collectives of fine and decorative and applied arts is observed. 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 artistic art criticism. 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 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-performing 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 council of the collective. To amateur art groups that are actively involved in communist education, having a high ideological and artistic level of repertoire and performing skills, educational and creative work, can be awarded the title of "folk amateur group". 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 are becoming urgent. 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 for reorganizing the production process, the theatrical collective has a performance, the propagandist has a report, etc. 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 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. The individual components in these systems — industrial and amateur — exhibit only superficial similarities; their internal characteristics turn out to be their own, but, most importantly, the connections and dependencies between the components turn out to be 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. Actually the 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 represents 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 to 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. 8

It is quite 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 diversity 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 represented by 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, university, 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 peculiarities 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-instrumental ensembles can solve their own tasks, 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, that is, 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. 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 understanding 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 collectives 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 with signs creative, as much 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 the 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 within the framework of the general methodology for organizing amateur performances, it is necessary to consider the most general issues 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 such 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 the 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 distinct individuals,” wrote L. V. Lunacharsky, “represents a truly cultured rich society. The herd personality easily submits to any Bonapartism or leaderism. 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 that society has indicated to him. " Currently, it has 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 an especially important, decisive factor in the development of the individual, to the removal of the negative influence of uncreative types of work on the personality with the help of free time. Here the reverse effect of free time on labor can be most clearly traced. However, the 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 task 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 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 the 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 intertwined. 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 hobbyist enthusiasts confirm that innovation is possible and not based on excellence. 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, errors 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, and the enrichment of the experience of predecessors. These features make it possible to distinguish creativity itself from empty originality, useless innovations and illiterate 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 activity of geniuses and luminaries is 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 which 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 activity can also be genuine creativity. Of course, it is also undeniable that amateurs are much less likely to become outstanding masters in comparison with 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 contests, the awarding of academic degrees and honorary titles - all this makes it possible to constantly identify the most talented among the gifted. As far as amateur activities are concerned, the principle of our policy in this area is general accessibility. Most 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 "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), for the amateur himself, may have the character of creativity. 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 involves setting a task or forming 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 person: the person'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, 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 models, 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 story on the basis of which the staging is made, about everyday 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 cleverly and tactfully guides the participants into the channel 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. In the classroom, the teacher awakens respect for common work, fosters the ability to subordinate the personal to the public. Conscious discipline is a 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 are encouraged to meet with interesting people, to reading modern literature, visiting 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 is obliged to dwell 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. Carrying out evenings of relaxation 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, you need to remember about the capabilities of the performers. Distortion of the idea of \u200b\u200bthe performance, simplification of the 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. Choreographic collective in a certain sense and, under certain conditions, contributes to the resolution of problems that arise among participants: 20

removes negative factors (complexes in movement, in 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 must 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 in them decency, duty and honor in human relations, 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 helping them in their further creative growth is the honorable duty of a teacher-choreographer. And in this we, choreographers, should provide each other with 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, expand their artistic and aesthetic horizons, teach them to be neat, smart, eliminate laxity, 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 pedagogical and organizational skills of the participants. Education should take place so 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 were previously 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 groups 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 lobby 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 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 collective 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. This 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 creativity 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 the noise of the station were already inaudible, but they were replaced by music. No one came to the platforms, but it was still noisy and crowded here. There they danced, 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 on 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 viewers. Seemingly 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, competitions, 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 the 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":2004 - Laureates of the II degree of the city competition of modern 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"; 1st degree laureates dance direction in 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 festival of student creativity "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 VIII Open Youth Grand Prix theater festival "White Elephant - 2010" in Kemerovo.

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Amateur 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. Amateur art includes the creation and performance of works of art by amateurs performing collectively or alone.

An amateur art group is a creative association of lovers of one of the types of art, working on a voluntary basis at clubs or other cultural institutions. Collective amateur performance has a number of features. This is the presence of a single goal, leaders, self-government bodies, as well as a combination of public and personal aspirations and interests of members of an amateur team.

Essential signs of amateur creativity: voluntary participation in an amateur team, initiative and activity of amateur participants, spiritual motivation of participants in amateur groups, the functioning of amateur performances in the field of free time. Specific signs of amateur creativity: organization, lack of special preparation for activity among amateur participants, a lower level of activity than professional collectives, gratuitousness, etc.

"Amateur art is a unique socio-cultural phenomenon, with a multi-type and multifunctional structure, which has the properties of leisure and artistic culture. As you know, leisure is a part of free time aimed at personal development, used for communication, consumption of values \u200b\u200bof spiritual culture, entertainment, various types of ad hoc activities that provide rest and further development of the personality. " (Murashko) "Being a part of free time, leisure attracts young people by its unregulated and voluntary choice of its various forms, democracy, emotional coloring, the ability to combine physical and intellectual activities, creative and contemplative, production and play. For a significant part of young people, social institutions leisure activities are the leading areas of socio-cultural integration and personal fulfillment. "

Amateur performances play an important role in aesthetic education. By joining art, a person develops his ability to perceive and appreciate beauty, raises his cultural level, and develops spiritually. "Choreographic amateur collectives, fulfilling the tasks of aesthetic personality formation, serve the cause of mass upbringing and education. These tasks are solved by means of the art of dance" "The formation of an active, spiritually rich personality is the goal of an amateur theater." Fairly, the above can be attributed to any other type of amateur creativity. Whether it is singing, composing or performing music, participating in circus performances, creating objects of fine and decorative arts, all this contributes to the development of the intellectual and general cultural level of the individual.

"Amateur performances ... is not only a school of artistic skill itself, but, perhaps even more importantly, a school of life, a school of citizenship. In other words, awakening to active artistic activity and developing one's abilities, a person not only asserts himself in art, and, above all, asserts itself as a member of society, whose activities and whose talent are socially necessary and useful. "

Participation in an amateur team develops a sense of responsibility. A person strives to perform the assigned tasks in a quality manner, not to let down other members and team leaders. Voluntary, without any coercion, attending classes and participating in concerts (performances, festivals, competitions, exhibitions, etc.) helps to raise the level of self-discipline.

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