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The functioning of the group of amateur performances. With an amateur art group

The functioning of the group of amateur performances. With an amateur art group

03.03.2020

(skepticism, stoicism, epicureanism)

Hellenism - a period in the history of the Mediterranean, primarily the eastern one, lasting from the time of the death of Alexander the Great (323 BC) until the final establishment of Roman domination in these territories, which usually dates from the fall of Ptolemaic Egypt (30 BC). The term originally denoted the correct use of the Greek language, especially by non-Greeks, but after the publication of Johann Gustav Droysen's History of Hellenism (1836-1843), the concept entered the historical science. A feature of the Hellenistic period was the widespread distribution of the Greek language and culture in the territories that became part of the states of the Diadochi, which were formed after the death of Alexander the Great in the territories he conquered, and the interpenetration of Greek and Eastern - primarily Persian - cultures, as well as the emergence of classical slavery. The beginning of the Hellenistic era is characterized by the transition from the polis political organization to hereditary Hellenistic monarchies, the shift of centers of cultural and economic activity from Greece to Asia Minor and Egypt. The sudden death of Alexander the Great in 323 BC. e., served as a signal for the beginning of the collapse of his empire, which revealed all its ephemerality. The commanders of Alexander, called the Diadochi, began a series of bloody wars and strife for the throne of a single state, which lasted 22 years. None of the Diadochi was able to win a decisive victory over all the others, and in 301 BC. e., after the battle of Ipsus, they divided the empire into several independent parts. So, for example, Cassander got the throne of Macedonia, Lysimachus - Thrace and most of Asia Minor, Ptolemy - Egypt, Seleucus got vast lands from Syria to the Indus. This division did not last long - already in 285 BC. e. Lysimachus, together with the king of Epirus, conquers Macedonia, but soon dies in the war with Seleucus I Nicator. However, the Seleucid Empire itself soon loses its conquered possessions in Asia Minor, as a result of which the region is divided into several small independent states, of which Pontus, Bithynia, Pergamum and Rhodes should be highlighted. New states are organized according to a special principle, called the Hellenistic monarchy, based on the synthesis of local despotic and Greek polis political traditions. The polis, as an independent civil community, retains its independence as a social and political institution even within the framework of the Hellenistic monarchy. Cities like Alexandria enjoy autonomy and their citizens enjoy special rights and privileges. At the head of the Hellenistic state, there is usually a king who has all the full power of state power. Its main support was the bureaucratic apparatus, which carried out the functions of managing the entire territory of the state, with the exception of cities that had the status of policies that owned a certain autonomy. Compared with previous periods, the situation in the Greek world has seriously changed: instead of many policies at war with each other, the Greek world now consisted of several relatively stable major powers. These states represented a common cultural and economic space, which is important for understanding the cultural and political aspects of that era. The Greek world was a very closely interconnected system, which is confirmed by at least the presence of a single financial system and the scale of migration flows within the Hellenistic world (the Hellenistic era was a time of relatively high mobility of the Greek population. In particular, continental Greece, at the end of the 4th century BC. . suffering from overpopulation, by the end of the 3rd century BC, began to feel a lack of population). Culture of the Hellenistic Society Hellenistic society is strikingly different from that of classical Greece in a number of ways. The actual departure of the polis system into the background, the development and spread of political and economic vertical (rather than horizontal) ties, the collapse of obsolete social institutions, the general change in the cultural background caused serious changes in the Greek social structure. It was a mixture of Greek and Oriental elements. Syncretism manifested itself most clearly in religion and the official practice of deifying monarchs. . Hellenization of the East During the III-I centuries BC. e. throughout the eastern Mediterranean there was a process of Hellenization, that is, the adoption by the local population of the Greek language, culture, customs and traditions. The mechanism and causes of such a process consisted for the most part in the peculiarities of the political and social structure of the Hellenistic states. The elite of the Hellenistic society was made up mainly of representatives of the Greek-Macedonian aristocracy. They brought Greek customs to the East and actively planted them around them. The old local nobility, wanting to be closer to the ruler, to emphasize their aristocratic status, sought to imitate this elite, while the common people imitated the local nobility. As a result, Hellenization was the fruit of imitation of newcomers by the indigenous inhabitants of the country. This process affected, as a rule, the cities, the rural population (which was the majority) was in no hurry to part with their pre-Greek habits. In addition, Hellenization affected mainly the upper strata of Eastern society, which, for the above reasons, had a desire to enter the Greek environment.

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On the question of the death or immortality of the soul, Socrates adhered to the views of the Orphics, the soul is immortal, the body, the grave of the soul, dies, the body begins to live.

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Introduction

The life of a modern person is fast-paced and diverse in its manifestations. How a person lives and rests largely determines his well-being, health and, ultimately, his performance. The high rhythm of life, the flow of impressions and various information have a direct impact on the nature of recreation, the way of using free time, on the tastes and needs of people, their aesthetic needs. That is why amateur artistic creativity occupies a significant place among the important elements of leisure. There will always be a place for this kind of activity in schools, secondary and higher educational institutions, enterprises, Palaces and Houses of Culture, National Culture Centers, rural clubs, etc.

The need for communication, self-expression, the desire to participate in public life, the desire to join the art, encourages many people of different ages to participate in amateur performances. Amateur creativity is diverse, everyone can choose the kind that he likes. Some are close to mobile and energetic classes in a dance group, others are close to the calm and unhurried creation of objects of arts and crafts.

The main task of amateur performance is to develop social activity and creative potential of the individual, organize various forms of leisure and recreation, create conditions for full self-realization in the field of leisure.

Target term paper - to study the essence and specifics of amateur art.

Tasks:

To get acquainted with the history of the emergence and development of amateur performances;

To identify the characteristic features of amateur creativity, its features, similarities and differences with authentic folklore and professional art.

The object of the course work is amateur (amateur) artistic creativity.

Subject of work- history of formation, structure and current state of amateur art.

Research methods- comparative, inductive, deductive, synthesis and analysis of literature on the research topic.

Coursework includes:

· title page;

introduction;

· 2 chapters;

· conclusion;

bibliographic list.

The first chapter is devoted to the history of the emergence, formation and development of amateur performances, the concept of amateur performances is considered, in the second chapter a comparison is made with folklore and professional art.

The methodological basis of the study was the work of the following authors: L. Emelyanov - "Modern amateur art and problems of folklore", L. Kogan - "Art and we", L. Futlik "Education by creativity", A. Kargin - "Educational work in an amateur team" and others.

Chapter 1. Theoretical analysis of amateur performances

1.1 Amateur art: definition and features

Amateur art - non-professional artistic creativity of the masses in the field of fine and decorative applied, musical, theatrical, choreographic and circus arts, film art, photography, etc. Amateur art includes the creation and performance of works of art by amateurs acting collectively or alone.

Amateur art group - a creative association of lovers of one of the art forms, working on a voluntary basis at clubs or other cultural institutions. Collective initiative 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 collective.

Essential features of amateur creativity: voluntariness of participation in an amateur group, initiative and activity of participants in amateur activities, spiritual motivation of participants in amateur groups, functioning of amateur activities in the field of free time. Specific features of amateur creativity: organization, the lack of special training for activities among participants in amateur performances, a lower level of activity than professional teams, gratuitousness, etc. Amateur creativity is a unique socio-cultural phenomenon, with a multi-type and polyfunctional structure, which has the properties of leisure and artistic culture. As is known, leisure- this is a part of free time aimed at the development of the personality, used for communication, consumption of the values of spiritual culture, entertainment, various types of unregulated activities that provide rest and further development of the personality (Murashko). "Being a part of free time, leisure attracts young people with its unregulated and voluntary choice of its various forms, democracy, emotional coloring, the ability to combine physical and intellectual activity, creative and contemplative, industrial and gaming. For a significant part of young people, social institutions of leisure are leading spheres of socio-cultural integration and personal self-realization."

Amateur art plays a big role in aesthetic education. By joining art, a person develops his ability to perceive and appreciate the beautiful, raises his cultural level, develops spiritually. "Choreographic amateur groups, performing the tasks of aesthetic formation of the personality, 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 art, all this contributes to the development of the intellectual and general cultural level of the individual. “Amateur art is not only a school of artistic mastery proper, but, perhaps 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 does not simply assert himself in art , but, 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 with high quality, not to let other members and team leaders down. Voluntary, without any coercion, attending classes and participating in concerts (performances, festivals, competitions, exhibitions, etc.) helps to raise the level of self-discipline.

Amateur art can be considered as a socio-pedagogical value, carrying out a system of functions: information and cognitive; communicative; social, containing in the artistic product ethical values, norms, ideals characteristic of different historical periods of the development of culture, thereby ensuring continuity, the ability to transmit it from generation to generation; aesthetic, because it carries the idea of beauty in the life of society, in everyday life, in language, plasticity, forms; educational, contributing to the development and change of spiritual values and needs of the individual.

Through the forms of amateur performances, folklorism and professional art, their performers, aesthetic norms, technical methods, etc., interact to a large extent.

1.2 History of amateur art

The origin of amateur art in the depths of folk art culture.

Since ancient times, man has sought to express his personal worldview through dance, drawing, song and much more.

"Dance is one of the most ancient and popular types of art. It reflects the social and aesthetic ideals of the people, their history, labor activity over the centuries, way of life, mores, customs, character. The people create in the dance an ideal image to which they strive and which affirms in an emotional artistic form.Artistically reflecting reality, the dance conveys the worldview of the people, its modern idea of beauty is one of the main features of folk dance.It reflects the modern understanding of reality by means of a long-established dance language, accessible, understandable to the people, loved them.The content and expressive means of folk dance are constantly evolving in accordance with the changes taking place in life.The history of the art of dance goes back to hoary antiquity.At the dawn of its existence, mankind discovered ways to express thoughts, emotions, actions through movements.Dance is silent.There is no the word sounds. But the expressiveness of the plasticity of the human body and musical rhythms and melodies turn out to be more powerful, and therefore the language of dance is international and understandable to everyone."

Along with folk dance, singing, arts and crafts, and other types of creativity developed. "The energy of creation, the need for beauty ... manifested itself in art crafts, in the richness and richness of everyday culture"

There were circles of lovers of dance, music, poetry and many other types of art and folk art, but, as history shows, their fate was short.

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.

After the October Revolution of 1917, the broad masses were involved in amateur performances (theatrical performances were staged, etc.). In the 1920s The repertoire of amateur circles was of an agitational nature (consisted of reviews, literary montages, concert numbers, satirical ditties, etc.).

The groups “Live Newspaper”, “Blue Blouse”, “Red Shirt”, etc., became widespread. In the mid-20s. the TRAM movement was born. (Theater of working youth). The CPSU and the Soviet government created all conditions for the development of the creative forces of the people. The speeches of V.I. Lenin with an assessment of the proletcult, the letter of the Central Committee of the RCP (b) “On Proletcults” (1920), the decree of the Council of People’s Commissars of the RSFSR “On the Improvement of the Theatrical Work” (1930), which proposed to strengthen the interaction between professional and amateur theater, to provide constant assistance to amateur art.

Amateur groups arose at clubs, houses (palaces) of culture, factories, plants, educational institutions, military units, collective farms, state farms, transport, etc. By the mid 30s. amateur art has reached a high ideological and artistic level. Many masters of professional art (V.V. Barsova, I.M. Moskvin, M.M. Tarkhanov and others) took patronage over amateur groups. To guide amateur performance and help it, the Central House of Amateur Art was created, which was transformed in 1936 into the All-Union House of Folk Art (since 1939 - named after N.K. Krupskaya), and in 1958 into the Central House of Folk Art (TsDNT). In the 1940s houses of folk art are organized in all republics, territories and regions.

In the 30s. in various union and autonomous republics, amateur national choirs, song and dance ensembles appeared, circles of fine and applied arts became widespread. Since the end of the 30s. The repertoire of theater groups began to include the best plays by Soviet playwrights and classical works. In 1937, at the Moscow amateur art show, performances were shown: “The Taming of the Shrew” (club “Rubber”) and “Romeo and Juliet” (club “Aviakhim”) by Shakespeare, “Petty Bourgeois” (House of Culture named after Gorbunov) and “Vassa Zheleznova” (Club named after Kukhmisterov) Gorky, “Confrontation” by the Tur brothers (club “Red Woodworker”), etc. In 1940-41, an All-Union review of amateur theatrical performance was held with the participation of 30 thousand groups (of which 22 thousand were rural).

During the Great Patriotic War, the main place in the repertoire of amateur performances was occupied by the military-patriotic theme, a lot of work was done to service the front, hospitals, defense industry enterprises, etc. At the All-Union reviews in the late 40s - early 50s. a number of significant performances were demonstrated: Gogol's The Government Inspector (Leningrad University), Bill-Belotserkovsky's Storm (Gorbunov House of Culture, Moscow), Gorky's Egor Bulychev and Others (Vyborg House of Culture, Leningrad), Matura Geraskina (House of Culture of the Automobile Plant named after Likhachev, Moscow), etc.

From the end of the 50s. the most mature amateur groups received the titles of folk theaters. Among them: folk theaters at the houses of culture of the Avtozavod im. Likhachev, Metrostroy, them. Gorbunov in Moscow, them. Gorky in Leningrad, the Houses of Culture of Textile Workers in Tashkent, the Houses of Officers in Kharkov, the Houses of the Railwayman in Tbilisi, the Houses of Culture of the Bolshevik Factory in Kiev, the Yenisei Theater, etc. In addition to drama, there are also musical theaters - operas (at the Central House of Culture of the Railwayman in Moscow, the House of Culture named after Kirov in Leningrad, the Klaipeda People's Opera House, the People's Opera Studio of the Chernivtsi Palace of Culture), ballet (at the House of Culture named after Gorky in Leningrad), operettas (the Moscow People's Operetta Theater at the House of Culture named after Gagarin in Moscow ).

Various amateur ensembles (the Folk Dance Ensemble of the Ashgabat Agricultural Institute, the Riga Dance Ensemble “Gatve”), orchestras, circus (for example, in the city of Cherepovets) and variety groups, choirs (Folk Choir of the Academy of Sciences of the Latvian SSR, Tartu Male Choir “ Gaudeamus”, Choir Chapel of the Starokramatorsk Machine-Building Plant).

The enrichment of the artistic treasury of socialist society is achieved through a combination of mass amateur performances and professional art. New evidence of the Party's attention to the development of the artistic culture of the Soviet people is the decision of the All-Union Central Council of Trade Unions, the Central Committee of the All-Union Leninist Young Communist League, the collegiums of the USSR Ministry of Culture, the USSR Ministry of Higher and Secondary Specialized Education and the State Committee of the USSR Council of Ministers for Vocational and Technical Education "On holding the first All-Union festival of amateur art of working people (1975). Such festivals are supposed to be held every 5 years. The first festival (1975-77) is dedicated to the 60th anniversary of the October Revolution of 1917. In 1976, 14 million adults and 10 million schoolchildren participated in amateur art groups in the USSR, with whom 150,000 full-time and over 500,000 public leaders worked. The number of groups awarded the title of "folk" (theaters, circuses, philharmonic, etc.) was over 4500.

In the 1970s and 1980s, annual amateur art reviews were held. At such reviews, each school presented its own program on a given topic. And the topics were connected mainly with socio-political events (the anniversary of the October Revolution, the anniversary of the Komsomol, etc.). Students of all ages participated in the shows.

Amateur art also gained wide scope in other countries, where favorable conditions were created for the development of amateur art. In the 1950s there were special methodological centers for the management of amateur art activities. (The Central Authority for Amateur Art in Czechoslovakia, the Central House of Folk Art in the GDR, the Institute of Folk Art in Hungary).

Reviews and festivals are arranged. In Bulgaria in 1956-74 four republican festivals of amateur performances were held; in 1973 there were over 15,000 amateur art groups here. (more than 500 thousand participants), which gave over 68 thousand performances, serving more than 21 million spectators. In Hungary, 8-10% of the population (12-18% of young people) participate in amateur art activities. In Czechoslovakia in 1974 there were about 23,000 ensembles (about 4 million people). In 1975 about 1.4 million people took part in amateur performances in the GDR; Poland's 20,000 amateur groups give 120,000 performances annually for 35 million spectators.

Amateur art groups (choirs, vocal ensembles, orchestras, etc.) exist at the expense of individual individuals and public organizations. In the early 30s. in Germany and Austria, one of the forms of association of workers was the Olympiad of workers' collectives, in the creation and activities of which prominent progressive cultural figures participated. Amateur choral performance is common in France; the activities of the People's Musical Federation acquired great importance. In 1956, the International Choir Olympiad was held in Paris. Numerous choral associations exist in Finland and Switzerland (the Swiss Union of Workers' Singers, etc.). There are over 60 amateur orchestras in Sweden. Student orchestras (brass band of the University of Michigan, etc.), choirs, vocal ensembles, theater troupes work in the USA.

Development retrospectiveamateur performances

In the first years of the formation of Soviet power, any kind of cultural institutions, especially informal ones, were destroyed. But the need to form a "new man" - the builder of communism, made it necessary to search for new forms of influence on the consciousness of the younger generation. The leaders of state and party organs of power saw in the development of amateur performances a powerful lever not only for raising the cultural life of the people, but also for educating them in the spirit of "communist ideals." On the basis of urban folklore and everyday amateur artistic practice, a new form of creativity was formed, which differed from the previous ones primarily in its organizational design, genre definition, and the presence of social goals and objectives. Initially, it was a period of spontaneous emergence and germination of the sprouts of amateur art in the depths of the existing forms of urban artistic culture. Gradually, the existing genres of urban folklore, amateur creativity were transformed, they took professional art as a model - theater, choir, instrumental performance. Amateur amateur artistic education appeared. Amateur groups arose at clubs, houses (palaces) of culture, factories, plants, educational institutions, military units, collective farms, state farms, transport, etc.

By the mid 30s. amateur art has reached a high ideological and artistic level. Many masters of professional art took patronage over amateur groups. In the 30s. in various union and autonomous republics, amateur national choirs, song and dance ensembles, circles of fine and applied arts have become widespread. Since the end of the 30s. The repertoire of theater groups began to include the best plays by Soviet playwrights and classical works. The Central House of Amateur Art was created to guide amateur performance and help it, which was transformed in 1936 into the All-Union House of Folk Art (since 1939 - named after N.K. Krupskaya), and in 1958 - the Central House of Folk Art (TsDNT). In the 1940s houses of folk art are organized in all republics, territories and regions.

During the Great Patriotic War, the main place in the repertoire of amateur performances was occupied by the military-patriotic theme. A lot of work was done to service the front, hospitals, defense industry enterprises, etc.

Amateur art in its modern sense reached its highest peak after the Patriotic War during the period of patriotic upsurge, when former front-line soldiers came to the leadership in many areas of art, who had something to tell and create in art.

The Soviet government created all the conditions for the development of folk art. "Thanks to the leadership of the Soviet government in the middle of the 20th century, the culture and art of the country flourished. One of the components of the great work in the field of cultural construction was amateur art." During these years, it assumed an unusually wide scope. Tens of thousands of choreographic circles appeared in schools and clubs with millions of participants in them. There were special methodological centers for the management of amateur art. "The All-Union Review of Amateur Art, held in 1951, is a clear evidence of success in this area." From the end of the 50s. the most mature amateur groups received the titles of folk theaters. In addition to drama, there are also musical theaters - operas. Various amateur ensembles, orchestras, circus and variety groups, and choirs have become widespread.

In the 1970s and 1980s, annual amateur art reviews were held. In 1975, the first All-Union festival of artistic amateur creativity of working people took place. Amateur art also gained wide scope in other countries, where favorable conditions were created for the development of amateur art.

The mass development of amateur performances has revealed many talented performers and directors. A large number of professional teams were created. Among them are famous folk dance ensembles, song and dance ensembles, Russian folk choirs, of which dance groups are an integral and integral part.

Amateur art continues to live today. The tasks of modern amateur art are - holding citywide holidays, mass festivities. The program for the development of culture includes the stimulation of folk art, the development of amateur art.

1.3 Amateur art at the present stage

Amateur art continues to live today. The tasks of modern amateur art are - holding citywide holidays, mass festivities.

The program for the development of culture includes the stimulation of folk art, the development of amateur art.

The main events that can not do without amateur performances are: New Year, Christmas, Defender of the Fatherland Day, International Women's Day on March 8, Days of Culture, May Day festivities, Victory Day, Children's Day, Sabantuy, City Day, Day of the Elderly, Day mothers and many others.

In Russia, every educational institution, almost every enterprise has its own amateur art groups. So, for example, the All-Russian Society of the Blind cannot imagine its life without amateur performances and has the following groups:

1. The folk group of the theater “Inner Vision” is a multiple laureate of reviews and competitions. The repertoire of the theater includes more than 10 performances, including: “Profitable Place” by A.N. Ostrovsky, “Harold and Maud” by C. Higgins, “Sunset” by I. Babel, “Orchestra” by J. Anuy, etc. There are more than 30 people in the theater troupe and half of them are visually impaired people (disabled people of the 1st and 2nd groups). In 1997, the theater became the Laureate of the Festival of Professional Theaters dedicated to the 100th anniversary of Federico Garcia Lorca, and in 2001 - the Laureate of the All-Russian Festival of Special Theaters “Proteatr”.

2. The folk theater of sound "Russian Rhapsody" arose on the basis of an amateur orchestra of Russian folk instruments of the All-Russian Society of the Blind, whose work began to go beyond the activities of the usual instrumental composition and reached a professional level. One of the confirmations of this is the assignment to the team in 1998 of the title “PEOPLE”. The style of the team combines tradition and modernity. Along with folk motifs, Russian classics, author's songs and romances, pop rhythms sound. Diverse in terms of the number of instruments, ensemble compositions contribute to mobility and satisfy the tastes of any audience.

3. Academic vocal class. The repertoire of the soloists of the class includes arias and romances from operas by Russian and foreign authors (Tchaikovsky, Puccini, Mozart, Borodin, Rachmaninov, Grieg, Schubert, etc.), early music (Handel, Gluck, Carissimi, etc.), songs and ensembles of past years (Khrennikov, Novikov, Dunayevsky, Solovyov-Sedoy and others), urban romance and folk songs (Russian, Ukrainian, Neapolitan ...).

4. Folk group The Russian Song Choir invites everyone who loves sincere Russian songs, ditties, dance and comic tunes. The composition of the team is mixed, female voices predominate. The singing is based on a folk manner, which gives special timbre colors to the sound of the choir. amateur performance creativity

5. The ensemble "Starinushka" performs folk, folk, author's and modern songs. The performances of this small mobile band are very popular with the public.

6. Premier show group - a youth team that has in its repertoire vocal and choreographic miniatures, reading and dancing numbers, classical works, pop songs, often united by a fascinating plot. Distinctive features of the group are joint creativity and synthesis of genres, so the participants can prove themselves in several qualities at once: screenwriter, performer, choreographer, costume designer and props.

Chapter 2. The essence, specificity and features of amateur art. Comparative analysis of amateur performances

2.1 Amateur art and folklore

The people have always created wonderful artistic values. Along with professional art, folk art lived - unnamed "folklore". Folk songs, fairy tales, legends, proverbs have been and remain an inexhaustible source of inspiration for professional artists.

There is no doubt that amateur art came out of folklore. Until the middle of the 20th century, there was no such distinction between these concepts. "Does amateur performance belong to the field of folklore - such a question was not posed, and in fact could not be posed, because folklore and folk art were completely identical concepts. Therefore, in the folklore collections of the 30-50s, along with the actual folklore materials, we can also find quite a few songs composed in amateur groups.In the view of folkloristics of that time, all these materials were equally facts of folk art, without any additional qualifications.The only thing that was required from a work in order for it to fall into the sphere of folkloristic attention , is a coincidence in some moments of a creative ("traditional") or technical (collectivity, anonymity, "polishing") order with works of classical folklore. If such a coincidence was evident, then there were no other doubts about the folkloric nature of the work in question, and could not have arisen. The whole question, therefore, consisted only in identifying some specific signs in amateur performances that would make it possible to bring it closer to folklore.

Over time, the concepts of "folklore" and "amateur art" have become more distinguishable.

The main thing that distinguishes amateur performance from folklore is organization. Self-activity is "a form that presupposes not only the presence of creative moments in general, but also certain means of organization." Folklore, "also being a manifestation of primary creative aspirations, arises, however, spontaneously," unplanned "and for this reason alone does not imply any preliminary organization. In other words, no one can foresee the emergence of a folklore work. Each time one has to reckon with it as a fact, accept it or reject it, but it is impossible to foresee when and by whom it will be created, to which side of reality it will be directed - this cannot be done under any circumstances. Therefore, it is impossible to imagine an organization or organizations whose task would include, say, the education of folklore personnel, the study of the creative needs of folklore authors, and the management of the development of folklore, while similar tasks in relation to amateur performances are not surprising to anyone.

Folklore creates works of art. Amateur performance is associated with both creation and performance, while works of both folklore and professional authors can be performed. If the authors of folklore, as a rule, are unknown, then in amateur performances we know both the authors and the performers.

2.2 Amateur art and professional art

It can be seen that amateur art repeats the types and genres that exist in professional art. This feature allows you to creatively borrow the methods of work and the educational process, and to a certain extent, the repertoire of professional performers and groups. The stages of approaching amateur art to professional art can be different.

Before each amateur collective, as well as before each of its members, the prospect of creative growth is open. It lies in the fact that, having reached a sufficiently high level of skill, a team or person is widely recognized, and their further work is largely professionalized. Many professional drama and musical theaters and ensembles have grown up on the basis of amateur performances. At the expense of talented participants in amateur performances, the largest professional teams are replenished.

And yet the main purpose of amateur performance is different. It provides an opportunity for creative self-expression, manifestation of oneself in an interesting form of art to those people who, for whatever reason, could not or did not want to do it professionally. Amateur art does not require a certain level of ability or prior training from its participants. It is available to almost everyone.

The choice of creative activity, the very participation in a particular team is exclusively voluntary and driven primarily by the interests of the participants themselves.

If professional art can be called work, then amateur performance is gratuitous. People are attracted not by the material benefit from doing one or another type of creativity, but by participation itself, the pleasure derived from the creative process.

2.3 Artistic performance and choreography

The situation that is developing in the field of "choreography and amateur art" has a branched multi-level, contradictory character. Today there is an abundance of choreographic groups (ensembles) that use choreographic material only as a means for stage performance and demonstration of themselves. Often we see groups performing in styles and genres that do not correspond to their creative capabilities; showing a low level of performance; choreographic numbers with primitive choreographic vocabulary and compositional construction. Today we are witnessing a craze for modern choreography, modern, etc. having neither creative possibilities for this, nor an accurate idea of styles, directions, genres, types of modern musical culture. All these groups are so different from each other in terms of the composition of the participants, in the repertoire used, in the methods of work, in the situation of functioning, that this gives grounds for an experienced specialist to assert that lately there has been a weakening of interest in classical, and especially folk stage dance, the interest of choreographers has been lost. to the concert and stage embodiment of choreographic material from the richest treasury of folk dance creativity; the traditions of the world-famous Russian (Soviet) school of choreography created by the great choreographers of the 20th century are lost: A.Ya. Vaganova, I.A. Moiseeva, T.A. Ustinova, T.S. Tkachenko, N. Nadezhina, P. Virsky, V. Kurbet.

A characteristic feature of our folk choreographic art is its deep connection with folk traditions.

Dance folk art is not something permanent. Passed down from generation to generation, it is constantly changing, enriched with new elements, carries new content, reflects a specific period in people's lives. Dances have been crystallizing in the public consciousness for years, and many of them, preserving the best progressive traditions, to this day, deliver aesthetic pleasure to our fellow tribesman.

The study of folk dance creativity must begin with comprehending what is deeply characteristic of the people, in which it most significantly embodies the way of life, their feelings, way of thinking, mentality, attitude to work, to nature, etc.

The folk dance that has come down to us excites even today with its beauty, makes us proud of the talent of its nameless creators, who created a great art imbued with optimism. Colorful and cheerful, closely associated with folk art in general, free from strict norms and canons, it is a remarkable achievement of culture, the subject of close study of modern researchers.

Russian folk dance has its own characteristics associated with the stages of development of national culture, as well as with the peculiarities of the culture of the region where it was formed and developed. Dances of the Orel, Kursk, Bryansk regions. The North, Siberia, etc., for all their commonality, national stylistic unity, are distinguished by the originality of compositional techniques, local style features, and shades of plastic solutions.

Folk dance has gone through a difficult path of creative development: each historical epoch has been reflected in plastic art, in the embodiment of plots and ideological and artistic ideas of its creators and performers.

Today, folk dance is a colorful highlight of any cultural event, presentations of network companies, and at corporate work teams, thus acting as an element of the show.

The main "supplier" of samples of folk dances has always been the village. The whole way of peasant life, with its unhurried course, the rhythm of work and life, the established cycle of days, months, seasons, determined the relative stability of psychology, artistic taste, and the nature of folk art. For all the seeming simplicity of folk dance (which researchers of Russian folklore often write about), it does not only contain the experience of the past. Subsequent generations of the people bring meaning, understanding, artistic tastes and ideals, consonant with their era, thereby expressing the social and artistic needs of their time. This makes each work of folk art a model in which the best features of folk life crystallize.

What are the main national features of Russian folk dance? First of all, the main thing is the content of the dance in the broadest sense of the word. Any round dance, square dance, dance contain a pronounced thought that permeates the entire dance.

Another essential national feature of Russian folk dance is its realism, which reflects the unity of form and content. The people always find the appropriate form of expression of the idea that they decided to embody in the dance.

The people in the dance do everything meaningfully and connect everything with life. Such a detail is interesting: in some areas, hands are placed on the waist with a closed fist, and in others, with an open palm. In the Voronezh region, during the expedition, masters of choreography noticed that dancers in the village put their hands in a fist. When asked about the reason for this, one old woman answered: “Our region is black earth, and all summer we are busy in the ground, weeding. The green grass and the blackness of the earth are eaten into the skin and sometimes they are not washed off for a whole summer, and during the festivities everyone hides their fingers in a fist.

Apparently, you can find the same truly folk explanation for the dance with an open palm. Even such simple Russian dance movements as picking, string and others have a certain life meaning.

A striking feature of Russian folk dance is expressiveness. A Russian person always dances with his soul, coloring every gesture, movement with his mood, inner state and attitude. The dancer is always full, figuratively, emotionally, he vividly reveals the features of his own nature and the idea that he wants to convey.

The song has long occupied an important place in dance. Song This is the chronicle of the people. Every event in their lives was accompanied by a song; it is closely connected with the game, round dance, action, dance. Many songs are known: lingering, game, round dance, comic, dance, which were always performed in a certain setting - at gatherings, festivities, weddings, fairs, where participants were both performers and spectators.

Thus, reflecting life in dance, the people make broad generalizations, create typical collective images and present them in a poetic artistic form. He feels the specifics of dance art, he understands that it is impossible to convey a special case in dance by ordinary means, to show a separate everyday fact: the dance will immediately disappear as a work of art and turn into a naturalistic imitation of life.

People need folk dance, and this is the reason for its thousand-year existence. The dance reflects the life of people: their work, thoughts, moods, feelings, skills and knowledge. Folk dance is needed by people as an art form that creates beauty with very peculiar expressive means: plastic and musical, dynamic and rhythmic, visible and audible. By these means, he serves a person in life, helping in work and holidays, in sorrow and joy.

Musical and plastic images of dance are always emotional, contagious, fascinating. All this together determines the special poetics of dance, its connection with nature and the folk musical and poetic warehouse of any national art.

Russian folk dance art occupies a large place in the modern choreographic process. About 80% of all stage works of art, one way or another connected with the art of dance, are composed and staged in the country on the basis of Russian folk dance art. Russian folk dances form the basis of the repertoire of many professional artistic groups, occupy a leading position in the work of amateur ensembles and participants in amateur choreographic performances. Being a wonderful means of figurative characterization, Russian dances are included in the extensive repertoire of opera and ballet and musical and drama theaters.

The study of Russian folk dance today is an urgent need, which is determined not only by the development of choreographic art. Artistic directors of theatrical groups, creative workers of cinema, television have to recreate the historical pictures of Russian life, show the life of the Russian people, put into action nasty folk festivals and rituals. All this requires in-depth knowledge in the field of Russian dance folklore, the ability to convey its living features and signs. Interest in folk dance creativity from a wide range of specialists is huge. It becomes obvious to everyone that knowledge of the foundations of folk dance culture instills a sense of legitimate national pride, an understanding of the continuity of progressive traditions in modern choreography, develops the ability to think aesthetically broadly, and contributes to the establishment of the principle of nationality in art, in choreographic pedagogy.

The origins of folk dances lie in ancient times, when dance was an imitation of the real actions of an ancient person, and ritual dances developed on the basis of ancient beliefs and were an alloy of anemism, magic and ancient art.

In everyday choreography, a person already acts as a social type, separated from nature.

In dance round dances, it is not the dramatic (playing), but the choreographic beginning that comes to the fore.

Russian folk dance, although it took some dance forms from outside, creatively reworked them. Strong in its national roots, Russian dance art subordinated them to its artistic method, endowed them with its own style, character, and filled them with its content.

The main characteristic features of folk choreography are the connection with folk traditions, expressiveness, content and realism.

Folk choreography acts as a means of mass communication between people, makes it possible to spend time meaningfully, get to know each other, make friends.

Conclusion

Artistic and aesthetic values act as part of the spiritual culture of the people, designed to satisfy and elevate the various needs of man. The basis for the development of spiritual culture since time immemorial has been amateur art.

The close attention of scientists to the amateur art of the people as an ethno-cultural phenomenon began to be observed from the 19th century. However, the active development of amateur art belongs to the second decade of the twentieth century.

There are several stages in the development of amateur art.

First stage(1917-932). During this period, the development of amateur performance had its own characteristics. There was a rethinking of pre-revolutionary amateur creativity, a movement towards its new forms, enrichment of their content; searched for new ways of working. The leading musical genres in amateur art were wind and folk orchestras, folk and academic choirs.

Second phase(1933-1960). Fundamental changes took place in the development of amateur creativity: a system of state and public leadership of amateur performances and training of personnel was formed. With the advent of large-scale industry, the rapid construction of basic houses and palaces of culture began, where thousands of workers and employees were engaged in artistic groups, and the material conditions for the activities of the circles changed.

Third stage(1960-1991). There was a qualitative increase in the performing level of amateur groups, many creative associations received the title of "People's". The number of participants involved in amateur art has increased. New genres of amateur art appeared - author's singing, vocal and instrumental ensembles, studios of academic vocal singing. In 1977 and 1987 All-Union festivals of amateur artistic creativity were held.

Fourth stage(from 1991 to present). There has been a crisis in amateur creativity, associated with a change in the state and social system in our country. Many production teams that have houses and courtyards of culture refuse to finance them (including material support for creative teams) because of the difficulties associated with the transition to new forms of management.

The transformation of the political, economic and social systems could not but affect the socio-economic environment for the functioning of culture. On the one hand, today the most important social institutions for "broadcasting" the heritage of culture are professional creative teams of theaters, public and private concert associations, mass 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.

It should be noted that at this stage in the development of our society, the amateur artistic creativity of the working people has changed qualitatively. If for a long time the main thing was the promotion of art by means of amateur performances, now its basis is the satisfaction of the artistic and aesthetic needs of a person, personality, the need for self-expression, familiarization with cultural values.

In the work of amateur groups, the function of developing abilities, forming personal qualities and a specific personality, and strengthening the aesthetic aspects of education is becoming increasingly important. A new defining function is the attitude towards self-organization, self-orientation, relationships, the search for one's own "I".

In the field of amateur art, there is a parallel development of creative directions, types, genres, based on different traditions and in connection with different levels of artistic - professional, everyday, classical, folklore, mass, elite, avant-garde, etc.

The main goals of the activity of the amateur collective are:

restoration, preservation, development and dissemination of traditional culture;

the creation, preservation and dissemination of cultural values and the wide involvement of various social groups of the population in the work;

popularization of works that have received public recognition;

the acquisition of knowledge and skills in various types of artistic creativity and the harmonious development of the creative abilities of the individual, the creation of conditions for its self-realization;

organization of free leisure and satisfaction of the cultural needs of citizens.

State bodies, together with trade unions and other public associations, create a system of social, organizational, legal and economic guarantees for the creative activity of an amateur collective, and republican, regional and district methodological centers of folk art provide methodological assistance. An amateur group has the right to carry out concert, theatrical, exhibition activities, participate in festivals, reviews, competitions and other cultural events, participate in the implementation of social and creative orders.

The following conditions are necessary for the preservation and development of amateur artistic creativity:

· study and use of historical and cultural traditions in the practical activities of cultural institutions;

· the formation of sustainable interests in various forms of artistic creativity among members of amateur associations, as well as various groups of the population not involved in active forms of amateur artistic creativity;

· updating the content of activities of amateur associations, interest clubs based on the development of initiative, active amateur performance of the population and other forms of activity (including the establishment of creative contacts in joint pastime).

I would like to hope that amateur artistic creativity will not lose its relevance in the future, will develop, expand, take on new forms, and contribute to the cultural development of the individual and society.

Bibliographic list

1. Baklanova T.I. - Amateur artistic creativity. Uch. allowance. M., 2006.

2. Belyanskaya L.B. - I want to go on stage. Donetsk, Stalker, 2001.

3. Bagnovskaya N.M. Culturology: Textbook. - M., 2005.

4. Vanslov V.V. - Comprehensive personal development and arts. M., Art, 2004.

5. Vasilenko V.P. - Amateur art and folklore. M., 2006.

6. Vishnyak A.I., Tarasenko V.I. - Culture of youth leisure. Kyiv, Higher School, 2005.

7. Volkov I.P. - Creativity education. M., Knowledge, 2007.

8. Volovik A.F., Volovik V.A. - Pedagogy of leisure. M., 2003.

9. Galin A.L. - Personality and creativity. Novosibirsk, Progress, 2004.

10. Demchenko A.K. - Possibilities of Russian leisure, M., Club, 2007.

11. Evkin S.I., Shekhtman L.B. - Art amateur performances of Russia. M., 2003

12. Emelyanov L.P. - Folklore and amateur performances. L., Nauka, 2005.

13. Ignatiev I.A. Amateur art as a factor in introducing members of the production team to artistic and aesthetic values. Abstract dis. cand. ped. Sciences: 13.00.05. / I.A. Ignatiev; Chel., 2005.

14. Kargin A.N. - Educational work in an amateur team, M, Education, 2003.

15. Kogan L.N. - Art and us. M., Young Guard, 2004.

16. Konstantinovsky V.S. - Learn beauty. M., Young Guard, 2005.

17. Likhachev B.T. - The theory of aesthetic education of schoolchildren. M.: Pedagogy, 2004.

18. Meserer A.B. - Dance. Thought. Time.M., Art, 2008.

19. V.G. Murashko. Criteria for assessing amateur creativity as a unique socio-cultural phenomenon. BGUK, article.

20. G.A. Nastyukov - Folk dance on the amateur stage. M., Profizdat, 2005.

21. Amateur creativity: established and new trends. Mater. Rep. n scientific and practical. conference: 22-23.10.2005; Mn., 2005, Bel IPK

22. Smagin A.I. - Organization of artistic creativity. Course of lectures, ISZ, 2007.

23. Smirnova V.I. Amateur art as a socio-pedagogical phenomenon. Abstract dis. cand. ped. sciences; Leningrad. state in-t culture im. Krupskaya; L. 2004.

24. Tkachenko T.A. - Folk dance. M., 2001.

25. Uralskaya V.I. - The nature of the dance. M., Sov. Russia, 2001.

26. Futlik L.I. - Creativity education. Perm, 2005.

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The variety of forms of amateur creativity, types and genres raises before art theorists the problem of classifying its offshoots from established types of orientation. These types include: professional art, folklore and amateur art. In addition, “... an introduced classification is possible, uniting groups of genres on the basis of the unity of the nature of creativity. In some cases, this is amateur performance, representing a direct artistic and creative reaction of a person to reality; in others it is amateur performing, 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 identifies two main categories of amateur performances:

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

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

A.S. Kargin notes the modern aspects of amateur art with a stable genre-species structure, subdivided into folk and classical genres. He proposes to classify according to six criteria. 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. To this is added orientation by institutional affiliation and socio-demographic composition. A large role, in his opinion, should be given to identifying aspects of amateur creativity in the regions, the specifics of the development of existing forms, types and genres, and their new formation. Consequently, contemporary artistic creativity has synthetic, traditional and organizational-forming genres. The classification of amateur groups can be represented as follows:

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

Each genre is represented by the author in different ways. For example, folklore types include: folklore theaters, groups of buffoons, puppeteers, etc. Folk singing groups have soloists, are organized into ensembles: folk song, 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 represent musical groups by such genres and types as academic (choirs and ensembles), symphony and brass bands. Theatrical - folk theaters and new forms - musical theater, folk groups. Choreographic groups are the dance art of the classical, ballroom, pop genre. Fine arts include studios of painting, author's design art (development of sketches, etc.). Genre-species diversity, which differs in types of creativity, has further development paths in amateur performances. Since the inclinations of creative perception are already laid in a person from birth, then in the process of life, developing his abilities and using the acquired experience, a person involuntarily contributes to the manifestation of neoplasms in amateur performance.

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

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

1. By focusing on the main layers of artistic culture:
- - focused on ethnofolklore types of folk, national art (with an internal division into types or forms of ethnofolklore 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 art activities that have no analogue or model either in professional or folk art.
2. By types of creativity and orientation to the main layers of artistic culture:
- - performing activities;
- - author's and author's and performing;
- - improvisational.
3. According to the degree of organization and the subject of the organization:
- - “unorganized”, “informal” or self-organizing amateur activity; artistic choreographic variety
- - amateur activity of unstable organizational forms (organized by the media, situational, etc.).
- - organized into stable associations of various types on the basis of various socio-cultural institutions, socially controlled and pedagogically directed.
4. By predominant type of activity:
- - associations of educational type;
- - associations of cognitive and artistic-research type;
- - art-propaganda and art-organizational associations;
- - game type;
- - creative;
- - associations of complex type with a wide range of activities.
5. By location:
- - rural amateur performances;
- - amateur performances of small towns (with a weak artistic and professional background);
- - amateur performances of a large city (with a strong artistic and professional background).
6. By age composition:
- - children's (primary school age, teenagers), youth;
- - amateur performances of adults (youth, older age groups)

Creativity and the need for self-actualization are inherent in the very nature of man. However, amateur 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 falls apart, and not many of them acquire an organized form of life creation (educational activity involving creativity; professional art; amateur art activities of the masses). Such creative activity has the highest form of man's manifestation of his creative powers and skills.

Relevant today is the task of optimizing unorganized amateur creativity, assistance in its organization, both in clubs and school, out-of-school institutions, at the place of residence. The activity of the individual, the team is manifested in the process of realizing one's abilities and skills in various areas of creative activity.

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

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

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"Amateur creativity is a unique socio-cultural phenomenon, with a multi-type and multi-functional 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 of spiritual culture, entertainment, various types of unregulated activities that provide recreation and further development of the individual. (Goosebumps) "As part of free time, leisure attracts young people with its unregulated and voluntary choice of its various forms, democracy, emotional coloring, the ability to combine physical and intellectual activity, creative and contemplative, industrial and gaming. For a significant part of young people, social institutions leisure are the leading areas of socio-cultural integration and personal self-realization."

"Amateur art ... is not only a school of artistic skill proper, 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 does not simply assert himself in art, but, above all, asserts itself as a member of society, whose activities and whose talent are socially necessary and useful.

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The technological foundations of working with an amateur art group are a set of methods and techniques that provide targeted regulation of the artistic and creative, artistic and pedagogical, artistic and communicative and artistic and organizational activities of the members of the collective. This activity is aimed primarily at self-improvement of the individual and the creation of conditions for self-organizational processes in groups and collectives of art lovers (84).

A key characteristic of the technological foundations of working with an amateur art group is the common for all participants target. Any goal is a mentally anticipated, as it were, modeled result of activity. It is inextricably linked with objective needs, thanks to which it acts as an "ideal, internally motivating motive ..." of human actions and "how the law determines their method and nature."

In an amateur art group, there are two types of goals: individual and collective. The creation of a team makes sense only when the realization of the individual goals of the participants or when private goals are achievable only through the promotion and implementation of a common goal. The real goals of any collective are the result of a complex interaction of social goals with individual and group goals. The goals set by an amateur artistic group from the outside (from the leadership of the institution, from the cultural management bodies, etc.) are goal-tasks. As such goals, the following can be put forward: preparation of a concert program for a certain date, performance at a site determined by the administration, participation of the collective in an artistic and mass and charitable event, and others.

In its development, each amateur creative team goes through several stages.

The formation of a creative team is preceded by stage of studying socio-cultural conditions its creation in a specific region and on the basis of a specific socio-cultural institution. The next step in team development is identification of its potential participants. This stage is characterized by a complex process of conducting sociological research, organizing acceptance tests, recruiting a team and staff of organizers of artistic creativity, and forming the initial organizational structure.

The next stage in the development of the artistic team is the period of search and definition of goals and guidelines for activities and, accordingly, the main areas of work, genre, repertoire policy. During this period, under the influence of various socio-psychological factors, the internal formal and informal structure of the team is formed, and social and personal artistic and non-artistic attitudes interact. Further correlation of organizational and self-organizational processes inside and outside the team leads to the stage final organizational design of the amateur art group.

legal and regulatory the basis of the activities of amateur art organizations is a system of legislative acts, regulations, federal and regional programs for the development of artistic creativity.

To legislative acts regulating the development of artistic amateur creativity, you can include Fundamentals of the legislation of the Russian Federation on culture, Law on public associations, Law on education, some sections Civil Code of the Russian Federation.

The Fundamentals of the Russian Federation Legislation on Culture, adopted in 1992, reflect the guarantees of the state regarding human rights in the field of cultural activity, the creation of works of art, art education, organizational and economic activities, and intellectual property rights.

The "Law on Public Associations", adopted in 1995, gives a clear description of a public association, goals, principles and conditions for its creation, features of financing and functioning. The law establishes legal norms related to the registration of associations of citizens and the formation of an internal organizational structure.

The "Law on Education" regulates the activities of additional education structures, within which art circles and studios can operate.

Finally, the section on intellectual property rights of the Civil Code of the Russian Federation regulates relations regarding copyright in the field of artistic creativity.

The activities of amateur art organizations are also regulated by a number of special Regulations.

The first group includes provisions directly related to amateur creativity and determining the procedure for the work of creative teams, regardless of their type or genre. These include;

· exemplary position on groups of amateur performances and technical creativity;

Regulations on folk amateur groups;

Regulations on an amateur association, interest club;

· regulations on the organization of exhibitions and sales of works by amateur artists and craftsmen by cultural and educational institutions;

· Regulations on the organization of the All-Russian Festival of Folk Art.

The second group of provisions includes documents revealing the features of the functioning of certain types of amateur organizations - circles and studios operating on the basis of self-sufficiency, amateur vocal and instrumental ensembles, discos.

The third group of normative documents includes regulations on various types of cultural and leisure institutions (clubs, leisure centers, youth cafes, craft houses, etc.) and their economic activities.

All these provisions were approved in the 80s of the XX century and by now have undergone moral obsolescence, and therefore need some adjustments.

IN " Approximate provision on groups of amateur art and technical creativity» notes that they can be created at cultural institutions, industrial enterprises and educational institutions and are financed both at the expense of professional organizations and at the expense of special funds allocated for these purposes by enterprises and organizations. The regulation regulates the regularity and duration of classes and rehearsals of creative teams. In addition, the Regulations consider the standards for concert, entertainment and exhibition activities of creative teams. In particular, theater groups produce one multi-act or two one-act performances per year; musical, choreographic and circus groups prepare a concert program from one department, annually updating at least a third of the current repertoire; groups of amateur photographers, fine and decorative arts organize one exhibition of works per year, and a film amateur circle creates one short film. In general, performances by amateur groups should take place at least once or twice a month. The Regulation also defines the functional responsibilities of the head of the team and provides recommendations on the organizational structure of the artistic association.

IN " Regulations on folk amateur groups” defines the conditions and procedure for conferring the title of a folk amateur group, the content of the work of such groups, the procedure for confirming the title of “folk” by them, the features of leadership and encouragement of folk amateur groups, their staff and funding.

Regulations on an amateur association, interest club(1986) applies to all types of amateur creativity and, in relation to artistic creativity, can regulate the activities of clubs for lovers of music, theater, cinema, fine arts, song, dance, photography, arts and crafts, etc. Such associations of amateurs do not set the performance or creation of works of art as the main goal of joint activity, but are guided by the knowledge, promotion of artistic values and the development of their attitude to a particular type of art in the process of communication. The regulation, therefore, regulates the financial issues of the functioning of associations; problems of their creation, registration, reorganization and liquidation. The regulation reflects the issues of the organizational structure of amateur associations and the powers of elected bodies; developing a program and plan for their activities; principles of financial and economic activity.

Another type of regulatory documents are letters of instruction and instructions from higher authorities. These include job descriptions of the artistic director of the House of Culture; the head of the circle (collective) of amateur creativity; methodologist for amateur art activities of the House of Culture, as well as various instructional letters regulating specific activities of the creative team, for example, the instructional letter of the Ministry of Culture "On the organization of paid concerts and performances of amateur art groups and performers" (1988).

The main principles of pedagogical leadership Artistic group of amateurs in modern conditions are:

· the principle of ideological and artistic pluralism (diversity of ideological content, freedom of expression and clash of different ideas);

· the principle of interconnection between elite and mass amateur art;

· the principle of continuity of domestic artistic and historical traditions;

· the principle of connection with universal artistic values through the preservation and development of national features of art;

· the principle of artistry and artistic originality (84).