Dedicated to the memory of Vyacheslav Nikiforovich Urskov, Honored Worker of Culture of the Moscow Region, laureate of international and all-Russian festivals and competitions, creator and musical director of the leading creative team of the city of Moscow, the youth folklore ensemble "Kladets" and the Russian folk song choir "Moscow Side" of the Palace of Culture and Sports "Yakovlevskoye » Moscow.
Vyacheslav Nikiforovich was an amazing person, selflessly in love with his work, giving him all his seething energy, all his thoughts! Modest and charming, he fascinated with his sunny openness and kindness.
It is terribly bitter when such people leave earthly life...
A true bearer of folk musical culture. The talent bestowed from above, high efficiency, the ability to feel every note and draw it with a thin thread through the heart and soul allowed Vyacheslav Nikiforovich Urskov to become a professional. More recently, he admitted that he considers the creation of the Center for National, Folk Singing Culture on the basis of the Leading Creative Group of the City of Moscow, the Youth Folk Ensemble "Kladets" and the Russian Folk Song Choir "Moscow side" of the Palace of Culture and Sports "Yakovlevskoye" as the main project of his creative activity.
Vyacheslav Nikiforovich now lives in the deeds he left on Earth, in his students, in numerous musical recordings and projects - in everything that can be seen and heard! And also in the memory and love of all who knew him, in memory and love, which can only be felt in order to understand and join everything spiritual and inexpressible that Vyacheslav Nikiforovich brought into this world and that did not go away with him, but remained in soul and in the thoughts of those who came into contact with him… “not everything dies…”
The spiritual heritage left by him is a heavy, but full of grace and joy, daily, blessed work of everyone who is worthy of this “burden”. The implementation of this high mission is to be continued by his colleagues and students, since this is the meaning of their professional activities.
Vyacheslav Nikiforovich Urskov is the musical treasure of Russia, the glory of the Novo-Fedorovsky settlement, the soul of the Moscow Side and Russia, a teacher who became a mentor and father for hundreds of children.
Russian folk instrumental art has lost a bright personality, a major musical figure, a virtuoso performer, a Teacher, a man of great soul.
Festival founders
Gennady Panteleimonovich Penzov
Head of Administration of the Novofedorovskoye Settlement in Moscow
I am sincerely glad that our hospitable land of the Novofedorovsky settlement hosts talented performers, creative teams at the Golden Placers folk music festival.
Our festival is dedicated to the memory of the brilliant musician, teacher, founder and musical director of the Russian folk song choir "Moscow side" and the youth folklore ensemble "Kladets", Vyacheslav Nikiforovich Urskov.
Let our festival "Gold Placers" become a cultural event, a long-awaited meeting of sincere and true friends, whose traditions, music, songs, dances bring us together.
Creativity involves finding ourselves, learning to believe, hope and love, gives us the opportunity to look into the future with confidence and hope, and helps us remember people who are selflessly devoted to folk art, helps us live in memory of Vyacheslav Nikiforovich Urskov, who has passed away from us. He knew how to ignite the team, fellow musicians with his enthusiasm and devotion to creativity. I recall the lines of Pasternak - "The goal of creativity is dedication, and not hype, not success ...". Vyacheslav Nikiforovich Urskov now lives in the affairs he left behind on Earth. In his students, in the memory and love of all who knew him, what did not go away with him, but remained in the soul and in the thoughts of those who came into contact with him.
With all my heart I wish all the participants of the festival success, new creative discoveries and achievements.
Nikita Igorevich Frolov
Director of GBUK Moscow "DKiS" Yakovlevskoe "
I am very pleased to be aware of the fact that a cultural institution has a festival of folk art - with its own deep meaning, with a reference to academicism and with the desire to show Russian culture in all its deep magnificence through the eyes of various creative projects.
The well-known figure of Russian science Grigory Landau formulated an important feature of culture: "In culture, the peak is the basis." And I, in turn, am very pleased that this festival permeates with a refrain the personality of the musician and teacher Vyacheslav Nikiforovich Urskov - “the foundation and the peak”, with whom I personally did not know, but to whom I was imbued with warmth and endless respect. In particular, after touching the art of the Russian folk song choir "Moscow side" and the folklore ensemble "Kladets", which were created by Vyacheslav Nikiforovich Urskov and Tatyana Nikolaevna Razboeva and have existed for almost 40 years.
Today we try to carefully take care of these cultural projects, because they contain history, the connection of generations, a complex philosophy, sincerity, purity and a deep Russian soul with high morality and spirituality. While these projects live, the memory of an outstanding person lives, whom we want to remember with this festival and sincerely thank for all the good and real that he did for us and for the development of the folklore genre. This year, the folklore ensemble "Kladets" was on tour in the state of Qatar, and this was the first tour of the group without Vyacheslav Nikiforovich Urskov.
By the will of fate, observing the empathy of artists at rehearsals and concerts, in everyday life, I realized that the folklore of Vyacheslav Nikiforovich is not at all art and not culture in their classical forms and manifestations. It's something more. This is a special and complex world, the dichotomy of which is in art and religion; a world in which people empathize with each other, donate, collect images and then create - truthfully and frankly, revealing the whole essence of the Russian person with a thin lace. Dedicated to this man - Vyacheslav Nikiforovich Urskov.
Evgeny Yurievich Klepalov.
Director of GBUDO Moscow "Novo-Fyodorovskaya Children's Music School".
I cordially greet the participants of the 1st Open Festival of Folk Art "Gold Placers", dedicated to the memory of the musician-educator, teacher Vyacheslav Nikiforovich Urskov.
He was loved by everyone with whom he worked, was friends. And the students of the music school, who instantly joined the ranks of bright admirers and devoted lovers of folk art; and their parents, happy that their children discover a new musical world with such joy and long to plunge into it again and again - a truly rare state of mind for both children and parents. He was loved by colleagues and musicians who were interested in working with him. If this were not so, people would hardly need art to express the inexpressible, to convey the inexplicable, to reveal the mysterious. Music is the kind of art that, without words, reveals the pure in the best intentions - Love, Kindness, Beauty.
Let our festival become a place for traditional meetings of musicians, the development of a cultural dialogue between the settlements of the Troitsky and Novomoskovsk administrative districts of the city of Moscow and the Naro-Fominsk City district.
I am sure that the festival will become a bright cultural event, a clear evidence of the rapprochement of creative teams to achieve a high level of performing arts.
Good luck, good luck to all of you!
Priest Sergiy Baidakov
Rector of the Church of the Archangel Michael in the village of Belousovo
I sincerely greet all the participants who have now gathered at the Yakovlevskoye Palace of Culture for the 1st Open Folk Art Festival Golden Placers.
It is gratifying that the presented folk musical initiatives are designed to contribute to the preservation and enhancement of the rich historical, spiritual and cultural heritage of our Fatherland.
I am deeply convinced that today it is necessary to actively popularize the creative projects of young people, because a good example of peers can inspire other young people to self-realization and patriotism.
Obviously, musical works can have a strong impact on the minds and hearts of people, and therefore on their thoughts, feelings and will. Music was given to us by the Almighty so that through it we would approach Him. Realizing creative ideas, we become like the Creator - the Creator of the beautiful world around us.
I express the hope that folk music, which, with your assistance, is returning to our lives, will contribute to the harmonious development of the individual, the spiritual, moral and patriotic education of people. Using your talents, will and mind for the good, try to continue to bring to life what the Creator has predestined each of you for.
I wish you all strength, God's help and further creative success.
Wishes from the Ministry of Culture
Petr Alekseevich Sorokin,
Head of the Department of Folk Singing Art of the State Russian House of Folk Art named after V.D. Polenova, Honored Artist of the Russian Federation.
Alevtina Georgievna Kondratieva,
Chairman of the Board of the Regional Public Organization "Musical Society" of the Moscow Region Honored Worker of the All-Russian Musical Society Member of the Board of the Ministry of Culture of the Moscow Region Honored Worker of Culture of the Russian Federation.
Emma Georgievna Kryukova,
methodologist of the scientific and methodological center of the Moscow Provincial College of Arts of the Moscow Region, Honored Worker of Culture of the Russian Federation.
Vyacheslav Nikiforovich Urskov, a wonderful accompanist, arranger, musician with a capital letter, could well make an outstanding career on the professional stage. However, almost all his conscious life, in alliance with Tatyana Nikolaevna Razboeva, he devoted complex and noble work with amateur associations, which became widely known not only in the Moscow region, but also in other regions of Russia, abroad.
We have had occasion to attend reporting concerts more than once, to observe the stages of creative growth of both the Moskovskaya Storonushka choir and the Kladets children and youth ensemble, to evaluate their programs at all-Russian and regional competitions and festivals as part of the jury.
I have always been struck by some special ability of the leaders, the performers they have brought up, to create an atmosphere of a real folk holiday for those around them, to make them rejoice, empathize, teach them to learn new things, respect and love the cultural traditions of their people.
We sincerely wish the participants and organizers of this festival health, family well-being, successful implementation of new creative projects!
Festival participants
GBUK Moscow "DKiS" Yakovlevskoe "
Choir of Russian song "Moscow side"
It is impossible to imagine the village without songs, and therefore it is not surprising that it is here that talented song groups are born, such as the "Moskovskaya side" from the village of Yakovlevskoye. The creator and leader of the team was Vyacheslav Nikiforovich Urskov. The choir "Moscow side" is the winner of all-Russian festivals and competitions. This is a choir with an amazing great interesting fate ... It is a long-liver of the Palace of Culture of the Palace of Culture and Culture "Yakovlevskoye". The team conducts an extensive concert activity.
The artists' baptism of fire is the first tour. At the "Moscow side" they took place in Chernobyl in 1986.
The winners of many all-Russian competitions and festivals, the artists have long become known far beyond the borders of our region. This is a choir with a stunningly interesting fate...
Moscow city creative team youth folklore ensemble "Kladets"
The folklore ensemble "Kladets" was created in 1995 at the Yakovlevskoye Palace of Culture and Sports. Laureate of all-Russian and international festivals and competitions. In 2000 he received the title of Exemplary. The ensemble consists of 4 age groups: junior, middle, senior, concert. The band's repertoire is extensive and varied. Every year the ensemble takes part in international festivals (Ukraine, Belarus, Turkey, Romania, Italy, Portugal, Hungary, Bulgaria, Czech Republic, France, Spain, Qatar).
In 2017, the ensemble confirmed the high title - the Moscow City Creative Team. The members of the collective "Kladets" are the keepers of the history and cultural heritage of the musical art of Russia with its spiritual and centuries-old folk traditions.
Musical director Kulakov Vladimir Sergeevich
Concertmaster Sklyarov Yury Vladimirovich
Choreographer Gvozdeva Tatyana Nikolaevna
GBUK Moscow "Novo-Fedorovskaya Children's Music School"
Maxim Putilin
Maxim Putilin, student of the State Budgetary Educational Establishment of Moscow "Novo-Fyodorovskaya Children's Music School". He became the owner of the 1st prize at the international festival-competition "Black Sea Olympus". Laureate of the I district competition-festival of ensembles. In 2017, he became a diploma winner at the 15th Moscow open festival "Northern Stars". Alexander Sverdel
Alexander Sverdel, student of the State Budgetary Educational Institution "Novo-Fyodorovskaya Children's Music School". He became the owner of the 1st prize at the international festival-competition "Black Sea Olympus". Laureate of the I district competition-festival of ensembles. In 2017, he became a diploma winner at the 15th Moscow Open Festival of Students of the Departments of Folk Instruments, Folklore and Folk Singing of the Children's Music School and Children's Art School "Northern Stars". Teacher Kulakov Vladimir Sergeevich
Ensemble of harpists "Tenderness"
The ensemble of guslars "Tenderness" was created in 2013 in the State Budgetary Educational Institution of Education in Moscow "Novo-Fyodorovskaya Music School". Today the team continues its creative activity. There are three groups in the ensemble - junior, middle and senior. The senior group of the ensemble is presented at the festival. In 2017, the senior group of the ensemble became a diploma winner of the 15th Moscow Open Festival of Students of the Departments of Folk Instruments, Folklore and Folk Singing of the Children's Music School and Children's Art School "Northern Stars".
MAUK "House of Culture" Dream ", p. Selyatino.
Folk group folk music ensemble "Vecherka"
The pitiful group of the orchestra of the folk group of the ensemble of folk music "Vecherka"
Soloists of the Orchestral Group of the Folk Group of the Vecherka Folk Music Ensemble Timofey and Roman Bakhrevski
The folk music ensemble "Vechorka" was founded in 1987. In 1995, the ensemble was awarded the honorary title "People's Collective". In 2016, the title was successfully confirmed 7 times. In the concert group, the age of artists is from 7 to 45 years, so classes are conducted according to the studio principle “from older to younger”. The ensemble includes an orchestral group and a junior preparatory group.
Head Honored Worker of Culture of the Russian Federation Rostam Yakovlevich MukhaevExemplary group of senior choir "Capel"
Vocal group "Lady Capel"
For thousands of years, people have been searching for the ideal human community. And, it seems, there is no more ideal than the choir. The choir is a model of human society in the service of world harmony, where everyone, having their own voice, opposes disharmony without being afraid of it.
The choir realizes the dream of human community. And the dream becomes a sound - a great and powerful, gigantic call that gives goosebumps to the listeners.
The choir successfully combines the personally significant and the socially significant. A person acquires a beautiful voice, a developed ear for music, emotional openness, a circle of like-minded people, friends, communicates with high music. Society is enriched by an artistic group, an island of spirituality and high culture” “Culture is the basis of prosperity”.
The exemplary collective choir "Capel" was created in 2000 and today has about 170 children and adults who are united by a love for choral art.
Choir "Capel" constantly takes part in festivals and competitions of various levels, from regional to international, receiving the titles of laureates and diplomats. Leads an active concert activity with the indispensable participation of all age groups.
Kapel cooperates with famous composers and professional creative teams.
Along with choral education, the team pays great attention to the development of children in the classroom: stage skills, developing solfeggio, rhythm, as well as playing musical instruments.
Concertmaster Elena Mikhailovna Gromova
Ensemble of folk song "Sudarushka"
The ensemble "Sudarushka", which was based on members of the Russian song choir, began its creative activity in the early eighties.
The task of the ensemble is to create an amateur group, which would perform Russian folk songs, ritual game compositions, popular stylized folk songs, and original musical instruments: spoons, zhaleyka, rattles, rubel, bells, tambourine, etc.
During this time, the ensemble "Sudarushka" has gone through various stages of its formation and development. A large number of concerts were given by the ensemble not only in the village of Selyatino and settlements of the urban settlement, but also at other concert venues in the region, as well as in Moscow.
During this period, not one composition has changed. For various reasons, the artists left, but new ones came in their place, adopting the best traditions and manner of performing the ensemble.
"Sudarushka" has accumulated its own repertoire, characteristic of it. The presentations are on a variety of topics. Each performance corresponds to the direction of the event, whether it is Victory Day, Maslenitsa, March 8, Christmas time, etc.
There is a creative, relaxed atmosphere in the team. In such an environment, participants are happy to practice, revealing their musical abilities. We are always happy to accept new arrivals into our creative family, help them to adapt in our team.
I would like to say: “To everyone who is not indifferent to Russian song and folk vocals, come! Let's work together!"
Exemplary group "Dance Theater "Dream": senior and junior groups
The choreographic group "Dance Theater" Dream "was created in 1990. In 1995, the ensemble was awarded the title of "Exemplary Collective", which they have successfully confirmed 5 times already.
Since 2002, the work of the team has been headed by T.E. Petrov. Tatyana Evgenievna Petrova is a graduate of the choreographic school in Samarkand.
She is an experienced teacher and tutor, a bright director, and an author of costume sketches. With the advent of a new leader, the work of the team received a number of new directions. The group's repertoire includes compositions in the styles of demi-classical, jazz-modern, other areas of modern choreography, as well as folk dance, genre sketches. Among the most striking works of the group and the choreographer are "Pink Waltz", "Ivushka", "Tango", "Fiesta", "Russian Souvenir", "Flock", "Butterflies", "Kodo", "Georgia" and many others.
The team carefully conducts work in the classroom - exercise at the barre, exercise in the middle, including allegro, ground gymnastics, acting, rhythm.
Team members with leaders and parents often attend ballet performances, concerts of professional groups together. Holiday “lights” and field trips are brightly held in the team.
Now more than 60 children and adolescents aged from 4 to 18 years old are involved in the team. The stable concert line-up is constantly replenished with new pupils, who are successfully instilled with love for dance and national culture, diligence and creative interaction.
Dance Theater "Dream" - the winner of regional, All-Russian and International competitions.
Choreographer Viktor Alekseevich Filyaev
MBU "DKiS g.p. Aprelevka"
Children's folklore ensemble of spoon-carriers "Peresvet"
The ensemble was organized in March 2015. The age composition of the ensemble is mixed, children from 7 to 17 years old play in the ensemble. The ensemble of spoon-carriers "Peresvety" takes an active part in the concert activity of the Palace of Culture and Sports of the settlement. Aprelevka.
On December 10, 2017, the children's folklore ensemble of spoon-carriers "Peresvets" took part in the VI Moscow International Competition-Festival "Golden Lace", which was held at the folklore theater "Russian Song" by N. Babkina, and became a laureate of the 1st degree.
Head Alexander Yuryevich Ikshtadt
Folk group choir of Russian song "Melody"
The choir of the MBU of the Palace of Culture and Sports in Aprelevka was created in November 1949 on the basis of the Aprelevka record factory. This is one of the oldest folk singing groups not only in the region, but also in Russia. For many years, the choir has confirmed the high title of the Folk Choir of the Russian Song "Melody". The members of the choir are people of various professions: workers, employees, engineers and technicians, teachers, medical workers, pensioners. The team includes people with 30 years of experience, veterans of the choir, and young members. The choir is multinational. The choir's repertoire is very diverse: lyrical, round dance, dance, Cossack, songs of Soviet, Russian and local authors, works of spiritual themes, folklore, modern folk and solo songs. The team has a great creative potential, a desire to work, to bring joy to the inhabitants of not only the city, but also the region with their creativity, promoting the culture of Russian folk songs.
Leader Tatyana Alekseevna LutsakConcertmaster Alexey Yurievich Manoshin,
Vladimir Alexandrovich Sizintsev,
Alexander Yurievich Ikstadt
MAUK TsDK "Zvezda"
Folk Song Ensemble "Ovsen"
The children's folk song ensemble "Ovsen" of the Central House of Culture "Zvezda" in Naro-Fominsk has been counting its history since 2005. From the first days Tatyana Alekseevna Lutsak has been in charge of it. The peculiarity of the group: the composition of performers of different ages: from 5 to 20 years, in which the younger ones, along with the elders, study folk culture with pleasure and embody the most daring creative ideas on stage. And the continuity of generations is evident: whole families sing. The ensemble's repertoire includes dance, round dance, game, calendar songs from various regions of Russia. Especially favorite is the Cossack tradition.
Ensemble "Ovsen" three times winner of various degrees of the All-Russian festival-competition of folk art "Keepers of the Heritage of Russia" Krasnogorsk 2013-2016. All-Russian festival "Wind Rose", open inter-municipal festivals "Rainbow of Talents", winner of the All-Russian festival "Glory, Fatherland!". The ensemble is a regular participant in many cultural events of the city and the region, delighting listeners of any age and musical preferences with their performance.
Vocal Ensemble of Folk Song "Bereginya"
The folk song vocal ensemble "Bereginya" was created in the summer of 2008 on the basis of the Zvezda Central House of Culture in the city of Naro-Fominsk, the leader is Tatyana Alekseevna Lutsak. Love for the Russian song unites and unites people of various professions into one friendly team: teachers, economists, medical professionals. workers, pensioners and students. The basis of the team is our beautiful women of different ages (from 18 to 60 years old). Immediacy, enthusiasm, mischief and enthusiasm - such qualities are inherent in all members of the ensemble.
The ensemble's repertoire includes more than 30 songs of various genres: academic folk song, folklore and Cossack song, vocal works, little known to the general public, recorded on the Don. Preserving this inexhaustible source of spirituality is one of the most important tasks that the Bereginya vocal ensemble sets for itself. The group's repertoire includes songs born in the Ryazan region, in the Stavropol and Volgograd regions, on the Upper Don. "Bereginya" - twice the winner of various degrees of the All-Russian festival-competition of folk art "Keepers of the Heritage of Russia", the regional festival "Memory of Generations", a diploma winner of the All-Russian Festival "Slavic Compound".
Concertmaster Igor Vasilievich Rudenko
MUK "DK" Moskovsky "
Ethnic vocal and instrumental ensemble "Lotos"
Ethnic vocal and instrumental ensemble "Lotos" was created in 2016 for children from 3 to 12+ years old. Classes are aimed at studying and performing the folklore repertoire, as well as studying the musical traditions of the peoples of the world. Much attention is paid to the development of the artistic skills of each soloist.
Despite the fact that the ensemble was created in October 2016, young artists have already performed on stage in front of a large audience. The team takes an active part in regional, city and district festivals and concerts, has diplomas and thanks.
Leading creative team of Moscow, Russian folk song choir "Okolitsa"
The choir was formed in 1999 for adults over 30 years of age in order to popularize the traditional Russian song heritage. The choir's repertoire includes old Russian songs from many regions of Russia.
Among the international achievements of the team, it is worth noting the Grand Prix of the international festival "Paris Stars" (France, 2012), the Grand Prix of the international festival "Stars of the Costa Brava" (Spain, 2013), the diploma of the 2nd degree of the Festival "Pink night on the Adriatic Sea” (Italy, 2014).
Concertmaster Andrey Mikhailovich Lukovsky
GBUDO Moscow "Pervomaiskaya Children's Music School"
Folklore ensemble "Osyata"
The folklore ensemble "Osyata" was formed on the basis of the State Budgetary Educational Institution of Children's Education in Moscow "Pervomaiskaya Children's Music School" in 2011. The basis of the group is the students of the Pervomaisky children's music school.
The team is a multiple winner of the international children's Easter vocal and choral festival "Bright Week", as well as international festivals: "Moresol" (2016), "Yarylovo Sletie" Bryansk (2017), "Firebird" (2017) and others.
The soloists of the ensemble are laureates of the 1st degree of the All-Russian festival of Russian dance "Pereplyas" (2017), laureates of the 1st degree of the international festival of music and dance "Tradition" (2016), laureates of the 1st degree of the city ethnographic festival of music, dance, fine and decorative applied art "Timonya" (2017).
Head Nazarova Venera KhushinovnaFolklore Ensemble "Kalinka"
The folklore ensemble "Kalinka" was founded in 2013. The ensemble is a regular participant in the folklore festivals Beresten, On the Roads of Kindness, My Family.
Head Vlasova Tatyana NikolaevnaConcertmasters Shepilov Alexander Nikolaevich, Kovaleva Evgenia Viktorovna
Duet Kovaleva Maria and Sidorova Varvara
The duet of Maria and Barbara was formed in 2016. The duet is a laureate of the 1st degree of the international children's Easter vocal and choral festival "Bright Week" (2017), a laureate of the district festival of folk art "The Firebird" (2017), a laureate of the 1st degree of the All-Russian festival of Russian dance "Pereplyas" (2017) 2016), laureate of the 1st degree of the international festival of music and dance "Tradition" (2016), laureate of the 1st degree of the city ethnographic festival of music, dance, fine arts and crafts "Timonya" (2017).
Head and choirmaster Nazarova Venera KhushinovnaChoreographer Sivkova Maria Alexandrovna
Concertmasters Shepilov Alexander Nikolaevich, Kovaleva Evgenia Viktorovna
Types and genres of amateur folk art. Their characteristic. specific features.
The life of a modern person is multifaceted and diverse in its manifestations. How a person 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 occupation in schools, secondary and higher educational institutions, enterprises, palaces and houses of culture, 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.
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 signs of amateur creativity: organization, lack of special training for activities among participants in amateur activities, a lower level of activity than professional teams, gratuitousness, etc.
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.
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.
Self-employment on one's own initiative. It contributes to the formation of an independently creative personality. Creativity is not conceivable without amateur performance. It allows you to know yourself, develop your abilities. An amateur art group is a voluntary association of lovers (of music, choreography, theater, etc.) based on a common interest and joint creative activity that contributes to the development of the talents of its members.
Participation in amateur art groups, exercise in their free time from work, study. It is an active form of social activity.
Amateur art is recognized to contribute to:
Expanding the horizons of the participants, the formation of moral qualities and aesthetic taste.
To promote the further development of mass artistic creativity, the wide involvement of new participants in it.
Culture serves the population.
Promote reasonable full-fledged leisure, organization of their recreation.
Today, amateur art and technical creativity have a diverse content and cover all types and genres:
Vocal activity (choral, solo singing).
Musical amateur performances (orchestras, ensembles, etc.).
Theatrical amateur performances (folk theaters).
Choreographic performance.
Fine Arts (painting, applied art).
Film amateur.
Photo amateur.
The highest form of manifestation of amateur art is the title of "folk collective" and "exemplary".
This section of the Internet portal of artists Artist.ru "Folklore" provides information from artists and creative teams working in the genre of Russian folklore.
Folklore is folk art, by means of which one can understand the psychology of the people in these days. As a rule, the most important values of a person and his life are reflected in the works of folklore: family and work, public duty and love for the motherland. Knowledge of the folklore of a particular country will give an idea of its people and history, as well as culture. By inviting a folklore ensemble to the holiday you are organizing, you will thereby culturally enrich the event.
Folklore Ensembles of Moscow
Folklore ensembles in Moscow can perform a wide variety of programs: folklore for children and musical folklore, modern folklore and wedding. Russian folklore will be indispensable when organizing an entertaining show program for foreign tourists. Foreigners will appreciate both ditties, nursery rhymes and dances, as well as lyrical Russian folk songs. Russia, being the largest country in the world, is rich in living Russian folklore. Folklore ensembles in Moscow not only perform works of Russian folklore, but also have absorbed the centuries-old traditions of their performance. As any primordially Russian feast is not complete without singing songs, so the holiday can be enriched by the performance of the folklore ensemble of Moscow at it.
If you represent the folklore ensemble of Moscow and are looking for a job related to participation in festive events and show programs, register on the Artist.ru Internet portal, and your data will be available in the catalog of artists in the "Folklore" section. Visitors to our site will be able to easily contact you to invite you to take part in the festive event.
The concept of "folk art" is broad, capacious and very heterogeneous in nature and level. It includes peasant art, handicraft art crafts, the work of artisans, and the song tradition. In Gubkinskaya territory, due to the geographical, historical and cultural situation, household crafts have become widespread: weaving, embroidery, crocheting, weaving from wicker and bast, leather, cooperage, blacksmithing.
Today we see the results of a great work that began in the 80s of the last century to revive traditional culture. Bit by bit, enthusiasts and lovers of antiquity collected what had been lost during the years of partocracy and persecution of the traditions of the people. Love for folk art and traditional crafts is passed on to the younger generation by 132 craftsmen and 17 craftsmen. They teach children and teenagers the basics of carpet weaving, embroidery, knitting, wood turning, wood carving, and beading.
The imagination of the lace maker E. Bobyleva creates unique patterns from ordinary threads. The young master of the Theological House of Crafts A. Lisyutin teaches children the intricacies of woodcarving. In the Konshinsky House, masters of children take over the skills of weaving from S. Potemkin. Today the toy is fun. And in the old days, she was a talisman, protecting children from evil spirits. According to the stories of old-timers, the master of the House of Crafts from Bogoslovka, E. Zakharova, managed to restore the technology for making a rag doll-spin.
Over the past few years, it has become traditional to hold a regional creative review-competition of masters of folk arts and crafts "Living Rus'". It is held with the aim of promoting the best examples of folk applied arts, supporting masters of decorative and applied arts. So that people could get to know the original craftsmen better, the Belgorod Museum of Folk Art organized an exhibition of the traditional culture of the Gubkinsky district, where visitors got acquainted with such crafts as carpet weaving, weaving on reeds, wood painting. The skills of decorative woodworking have been preserved to this day through the efforts of craftsmen from Istobny, Konshino, Bogoslovka, Sergeevka.
The study of the richest spiritual heritage, the revival and promotion of traditional folk culture leave a fertile mark in the hearts of children, youth, all residents of the Gubkinsky territory, give us the opportunity to touch the true art, to preserve the spirit of folk traditions.
In the early eighties of the 20th century, the historical roots of the folklore ensemble "Resurrection", the children's folklore ensemble "Ladushki", the clubs "Zateynik" and "Slavic Travnitsa", the museum "Living Antiquity" go back. They form the basis of the traditional folk culture of the Gubkinskaya territory.
Folklore ensemble "Resurrection" is doing a lot of research work to study and preserve the unique song style of our region, which, tirelessly resurrecting beautiful examples of folk songs, gives them a new life on the concert stage. The ensemble draws material for work from expeditions to the villages of the Belgorod region. Each member of the ensemble works with folk song performers. More than 1,400 old songs have been deciphered, unique research materials have been collected on the villages of the Gubkinsky district: Prisynki, Teply Kolodez, Melavoe, etc. Expeditions help to make new records of traditions, rituals, and songwriting. It is valuable that all the material is actively used during seminars on the revival of traditional culture, in the repertoire of the folklore ensemble "Resurrection" and the children's folklore ensemble "Ladushki". Creativity "Resurrection" is known far beyond the region. The ensemble is twice a laureate of the All-Russian television and radio competition "Voices of Russia". He was awarded the first prize at the International Competition "Krasnaya Gorka" (Bryansk).
The "Zateynik" club has been created for children and teenagers, where they get acquainted with calendar and ritual holidays, learn old folk games, carols, schedrovkas, stoneflies, incantations.
In order to revive and support traditional culture, as part of the celebration of the Days of Slavic Literature and Culture, a children's festival of folk art "May Karagod" is held, which contributes to the development of folk performing skills, the identification of new folklore groups.
For many centuries, song ethno-cultural ties and traditions have historically developed on the Gubkinskaya territory. Today, the song tradition is represented by 23 folklore and ethnographic groups, including 11 children's groups. Their activities are based on the revival and promotion of song folklore, original dances, and oral folk art. There is a life-giving spring of primordial old songs in the village of Chuyevo, where the song heritage is preserved and passed on to the younger generation by members of the folklore-ethnographic group Posidelki. Members of the folklore ensemble "Rodnik" of the Theological House of Culture restored bit by bit the old wedding ceremony. And now, on the Gubkinskaya territory, it is gradually becoming a tradition to hold modern weddings in the old way.
The choir "Russian Song" appeared on the basis of the Palace of Culture "Builder" - in February 1986, at the origins of its creation were the leader Valentina Grigorova and concertmaster Ivan Chentsov. Soon enough, a stable team of 27 people was formed, the hallmarks of which were purposefulness, the desire to master the heights of vocal art, and the fruits of labor were not long in coming.Letters of thanks, certificates of honor and diplomas of territorial, regional, regional competitions and festivals, and the most long-awaited title of "folk", awarded to the choir in 1990.
The friendly choir family united not only professionals, but also folk song lovers of different ages: the oldest participant is about 80 years old, the youngest is a little over 20.
Team Leader B.C. Grigorova considers the main task not only to preserve folk traditions, but also to instill a love for Russian song in the younger generation. How not to be proud of our soloists. Valentina Besedina, for example, always makes surprisingly interesting undertones and is fluent in rattles and spoons. The real adornment of the performed works is the tambourine, which in the hands of Lidia Sirotkina sounds especially loud and cheerful.
In 1986, the choir of the House of Culture "Builder" "Russian Song" was created. "For 20 years of concert activity, the choir has traveled around many cities and regions. Memory, like a photographic film, keeps the most vivid impressions," says Sergey Shchuplov, concertmaster of the Russian Song choir. There have been funny cases more than once, but mutual assistance has always saved. no one works in the choir, because everyone feels responsible to the audience, and the choir's repertoire requires a serious attitude. These are not only songs from our region and various regions of Russia, which allow some improvisation, but also works borrowed from the repertoire of professional groups of the Voronezh Russian Folk and Kuban Cossack Choirs.
For more than 20 years, Gubkintsy has been pleased with the work of the Academic Folk Choir of Veterans of the Great Patriotic War "Living Memory", led by Honored Worker of Culture N.N. Novik. Natalya Nikolaevna has a special musical education, and the success of the choir is ensured precisely by the happy combination of the professionalism of its leader and the love for choral singing of the choir members.
Ensembles of folk art are organized in club institutions. But stronger and more interesting are the connections of talented people who found each other at the holidays. Director of the city park of culture and recreation V.G. Gdadkikh, by the nature of her official activity and at the behest of her heart, held the annual and favorite holidays of the townspeople "Golden Autumn". Here is what she observed: “The traditional folk festival Golden Autumn turned into a big folklore holiday. And impromptu performances made it so (5 accordion players and balalaika players who came to the Play, Accordion competition). autumn worker of the mountain rescue team B.V. Abakumov:
"You play, play, harmonica!
Have fun, honest people,
If the legs get tired
Let's go home on our hands!"
But that an impromptu competition would arise, no one could even imagine. An employee of NIIKMA N.F. read his poems. Iovlev. Pensioner N.Ya. The guard also read his poems about his native Gubkin. And the conceived competition of accordion players turned into a real folklore holiday.
We are on an autumn holiday -
Have fun playing, accordion!
We will lure you with our singing.
IN heart on fire!
The folklore ensemble of the JBI-2 plant began its performance with fervent, crafty ditties of its own composition. Elegant costumes, sonorous voices - could not but cause applause and smiles from the audience.
And here in front of the public is a folklore ensemble that arrived for the holiday from the Sergeevskoye pilot production facility. His speech was, as they say, the highlight of the program. In bright sundresses, with balalaikas, the members of the ensemble came out. They sang beautifully the Russian folk songs "Meadow Duck" and "Give me a balalaika". And the ditties of the Zavolokin brothers were scattered over the entire district by M.A. Ovsyannikov.
The holiday introduced, the holiday made friends ... This is what makes it even more attractive for all its participants. The current "Golden Autumn" introduced, made friends the spouses of retired Arkhipovs and the slinger of the KMAelektromontazh department A.F. Matsyna. It turned out to be a wonderful trio: Tatyana Prokhorovna plays the tambourine, Mikhail Fedorovich plays the balalaika, and Alexander Fedorovich is the accordion player. Often such meetings ended in long-term friendship and joint creativity.
Folk art will be preserved in the families of lovers and admirers of antiquity, traditional folk culture. The people love original ditties, balalaika players, harmonists, wailers at funerals (they don’t scream at weddings anymore, these traditions are gone). So, the Vlasov family-ensemble of folk song lovers is known in Gubkin. Grandmother, daughter, daughter-in-law, son and little granddaughter delighted the townspeople at city holidays.
Thus, folklore and song creativity is a living spring of the people's soul. In the Gubkinskaya territory, folk groups received a permanent residence permit and a green street.
The development of amateur art in the 30s
In 1936, the Central House of Amateur Art named after. N.K. Krupskaya was reorganized into the All-Russian House of Folk Art. N.K. Krupskaya, who transferred his main work to village amateur performance. Until the war, the network of regional and regional houses of folk art, as well as amateur art houses of trade unions, continued to develop and stabilize. Amateur art shows have become more regular in the republics, regions and districts. The famous annual Leningrad Olympiads of amateur creativity continued to be held (1933 - the 7th, 1934 - the 8th Olympiad, etc.). The same Olympiads were held in many regions of the country - in the Urals, Ukraine, Siberia.
The holding of the First All-Union Choir Olympiad in the summer of 1936 in Moscow was of great importance for amateur art. It was preceded by field reviews.
29 best choirs participated in the finals of the Olympiad in Moscow, among them the DK im. M. Gorky and DK im. The first five-year plan of the city of Leningrad, the choir of Vychug weavers, the choir of builders in Kazan. These choirs, noted one of the reviews, "performed not only no worse, but sometimes even better than professional choirs."
Reviews, competitions, olympiads received a great public outcry. In the course of them, new circles were created, new genres were mastered and developed. First of all, new genres were actively mastered, in particular, the number of pop and jazz groups grew rapidly, the instrumental composition of folk orchestras was enriched and expanded. The “average” performance level of drama clubs has grown significantly.
By this time, the attention to the folk choral and instrumental art was intensified. If in the 1920s there were discussions about the value of folk choirs, necessary and unnecessary folk musical instruments, then in the 30s these rhetorical questions were gradually removed. Work unfolded on the organization of groups of these genres, their modernization, the search for new expressive means, repertoire. Folk choirs and orchestras remained in many places the main conductors of music to the masses.
It is equally important to note that attempts to recreate and bring folklore groups to the stage date back to this time. After a long "cool" attitude towards this form of folk art, which was widespread at that time, practical measures were taken to "cultivate" and recreate samples of folklore on the club scene. One of the well-known folklore ensembles, organized in the mid-30s, was the Gdovskaya Starina ensemble. It was created in the Gdovsky district of the Pskov region. The ensemble united lovers of ancient singing, playing the harmonicas and balalaikas, dancing and more.
Interestingly, the members of the ensemble were the initiators of the construction of the club, where they settled. In the repertoire of the ensemble, performances of folk songs and ancient rituals were widely used. This ensemble gained wide popularity, performed repeatedly in Moscow, on the central radio.
A large amount of research work was carried out by the Theater of Folk Art in Moscow, founded in March 1936. Taking into account the experience of this theater, theaters of folk art were opened in Kuibyshev and some other cities in 1937.
The Theater of Folk Art in Moscow provided invaluable assistance in the development of amateur art activities. The theater showed the achievements of the best teams of the country, prepared special creative programs like mass festivities, timed to coincide with the most significant events in the life of the country - May Day holidays, Lenin days, etc. Theater Director B.M. Filippov, in an article published in the Trud newspaper on March 18, 1937, wrote: “In order to show the creativity of the peoples of the USSR in its entirety and diversity, we need the help of the greatest masters of art. We believe in the great prospects of the theatre, for it draws its cadres of performers from the masses of the people.”
The stage of the theater was provided for holding olympiads, reviews, final amateur concerts. On the basis of the theater, a large number of amateur demonstrative circles worked, led by outstanding masters of art. The dance circle was led by I. Moiseev, the jazz orchestra - by L. Utyosov. Theater circles became a kind of creative laboratory, their activities attracted the search for new forms and means of expression.
In the years under review, amateur performances continued to enrich themselves along the repertoire line. This happened in different directions: firstly, along the line of turning a significant part of the circles to Russian and foreign classics, to the best works of A. Pushkin, A. Glinka, M. Griboyedov, A. Ostrovsky, V. Shakespeare, M. Mussorgsky, N. Rimsky-Korsakov; plays by M. Gorky, V. Vishnevsky, V. Bill-Belotserkovsky, K. Trainer and others. Secondly, along the lines of a more in-depth disclosure of the content of the plays, their higher artistic and technical performance. Thirdly, along the line of social rethinking of samples of folk art, an increasingly objective attitude towards them, the exclusion of their vulgar-critical assessment; fourthly, along the line of active appeal to the new Soviet repertoire.
Among the positive moments in the field of repertoire, one can also include the fact that cases of subjective interpretation and distortion of plays at the will of the leader have sharply decreased, interest in folklore and sharp-sounding social works has increased. This has become especially noticeable since the decades of national art and literature held annually in Moscow.
Within their framework, the achievements of amateur art were also demonstrated. In 1936, decades of arts were held in Ukraine and Kazakhstan, in 1937 - Georgia, Uzbekistan, in 1938 - Azerbaijan, in 1939 - Kyrgyzstan and Armenia, in 1940 - Belarus and Buryatia, in 1941 - Tajikistan.
On August 1, 1939, the All-Union Agricultural Exhibition opened, on the grounds of which the best amateur groups began to perform. Only in 1939, a number of Russian song and dance ensembles, the collective farm song and dance ensemble of Uzbekistan, the choir of collective farmers of Kazakhstan, the ensemble of komuz players of Kyrgyzstan, the ensemble of ashugs and zurnachi of Azerbaijan and other groups performed at the exhibition.
There was an increase in the role of artistic amateur performance in the spiritual sphere, its influence on economic life, the education of the masses, and the strengthening of the country's defense might grew.
Amateur art helped in the fight against illiteracy, religiosity, which made themselves felt especially acutely in the countryside. Amateur performances performed aesthetic and educational tasks in those places where professional art did not reach and could not actively influence the population.
In the early 1930s, musical groups first appeared in Leningrad, which later took shape as song and dance ensembles. In 1932, the poem "Accordion" by N. Kuznetsov was staged in the House of Culture of the Vasilyevsky District (now the House of Culture named after Kirov). It was performed by a working choir, an orchestra of folk instruments, readers and a dance group. The House of Culture of the Industrial Cooperation (now the Lensoviet Palace of Culture) showed a number of interesting musical performances. For the 19th anniversary of October, the amateur song and dance ensemble prepared the musical composition "Motherland".
In the second half of the 1930s, amateur photography circles appeared, and amateur dance and art amateur performances became much stronger. The instrumental composition of the Russian folk orchestra expanded due to the introduction of button accordions, and the first orchestras of national musical instruments were created in the republics.
The outstanding Soviet composer, conductor, creator and leader of the Krasnoarmeysky Song and Dance Ensemble A. Alexandrov wrote in 1938 that the ensemble form of artistic work should become widespread. Large enterprises have every opportunity to create factory song and dance ensembles. At the same time, it is not at all necessary that the ensemble should include 150 - 170 people. You can organize small ensembles of 20-30 people. A. Alexandrov expressed a number of fundamental considerations about the problems of this form, gave methodological recommendations. In particular, he touched upon the organization of the study of the participants, the problem of the repertoire. According to him, the ensemble has the opportunity to “work on a diverse folk and classical repertoire.
The artistic direction of the ensemble should select such a repertoire that would allow full use of all the artistic means of the ensemble, i.e. choir and dancers. Grateful material can serve as folk dance and round dance songs and songs of the peoples of the USSR in general.
By the 20th anniversary of October, the results of the development of amateur art activities over two decades were summed up. By that time, this process was distinguished by its versatility, variety of forms, types and genres. Only in the field of amateur performances did four-part choirs, peasant folk song choirs, theatrical choirs, song and dance ensembles, opera studios, singer-soloists, sound imitators, whistlers, vocal duets and trios operate; orchestras - symphonic, Russian folk instruments, wind, domra, noise, jazz orchestras; ensembles of national instruments - kanteli players, bandura players, etc.; domra quartets and the so-called village trios - mandolin, balalaika, guitar; harmonists, pityers, etc. Amateur art has turned into an extensive network of dramatic, choreographic circles and studios. Their performances gathered thousands of spectators and were broadcast on the radio.
During the reviews, competitions, the professional skills of the participants, copying the forms, repertoire, content of the activities of professional groups were evaluated with the highest score. This forced the leaders to abandon the mass involvement of those wishing to sing, dance, play, the development of truly amateur beginnings in work and focus on selecting the most capable among the participants.
Despite the measures taken, most of the leaders of the circles remained insufficiently prepared. They continued to train mostly in courses that weren't enough. Thus, in the first half of 1938, 445 people were trained at 153 trade union courses. Of these, 185 - in three-month courses, and the rest - in short courses and seminars. Taking into account the number of circles, calculated by that time in tens of thousands, there were clearly few prepared. The quality of training in short-term courses and seminars was low.
The number of students in special educational institutions - music, art, theater technical schools and schools in the departments of organizers and instructors of amateur art activities remained small. Their releases could not significantly improve the composition of the leadership cadre. Moreover, at the end of the 30s, admission to these departments was further reduced.
Despite everything, amateur art remained the main source of satisfaction of the aesthetic needs of the population, especially in the countryside and in small towns. Immeasurably increased amateur art and quantitatively. From the beginning of the 30s, when there were about three million participants, their number increased by the beginning of 1941 to 5 million. The following detail can be noted: if in 1933 in one trade union club there were on average 6-7 circles (about 160 participants), then in 1938 - 10 circles (about 200 participants). The performance skills of the participants have grown significantly. Not only individual teams and performers demonstrated high professionalism during reviews and olympiads. For the most part, amateur art has made a significant step towards mastery, mastery of musical notation.
The idea of organizing diverse educational and creative work in amateur art, further developing its specific methodology becomes dominant. A systematic and full-fledged educational and creative process was considered as one of the main factors that ensure the development of amateur art activities, the mastery of a new, ever more complex repertoire. The development of acting, choral, dance, instrumental and performing culture, new rhythms, new content, new artistic and technical techniques was placed at the center of all the activities of the circles.
The material base of the circles has been significantly strengthened. Such giants as the Palace of Culture to them. Kirov in Leningrad, Palace of Culture. Stalin in Moscow, Rybinsk Palace of Culture. The expenditures of trade unions for the development of amateur performances and the work of clubs have increased significantly. The status of the trade union clubs has been considerably strengthened. The 3rd All-Union Conference on the work of trade union clubs, held in April 1939, adopted the Regulations on the trade union club, which provided for its rights and obligations in relation to mass artistic creativity. All this provided favorable conditions for the development of various genres of mass creativity, especially in the city. Paid studios were widely developed: instrumental, choral, literary, choreographic, fine arts.
Mass types of amateur performances grew rapidly. Only from 1935 to 1938, the number of participants in musical circles in trade union clubs increased from 197 thousand to 600 thousand people, in drama circles - from 213 thousand to 369 thousand.
In general, there were more than one million participants in the amateur trade union activities.
The regional reviews held before the war, and then the All-Union Review of theatrical amateur performances (December 1940 - January 1941), organized by the Committee for the Arts, demonstrated in their entirety the gains and huge prospects for mass artistic creativity. The All-Union Review was attended by 30,000 teams (of which 22,000 were from the countryside), with more than 417,000 participants.
The plans for the work of theater groups included familiarization with acting, stage speech; musical and choir groups - the study of musical notation, the technique of playing instruments, voice setting; groups of fine arts - the study of drawing, painting, composition; dance groups - familiarization with the basics and methods of folk and classical dance, acting. To conduct educational and educational work in teams, it was proposed to widely use correspondence consultations and correspondence art education organized by amateur art houses and folk art houses.
Attention was drawn to the need to streamline reviews, amateur concerts. Reviews, Olympiads were proposed to be held at enterprises annually, and nationwide - according to a special resolution of party and state bodies.
Personnel, material and repertoire issues were raised, on the solution of which the attention of trade union bodies, houses, folk art, and amateur performances was focused.
The cultural bodies began to implement this program of amateur performances in the late 1930s. However, it was not possible to fully expand. The aggravation of the international situation, the perfidious attack of fascist Germany on our country interrupted the peaceful creative work of the Soviet people. Amateur art, like all Soviet art, entered the fight against the enemy.
Amateur art during the Great Patriotic War
In the first days of the war, many artists thought that their activities in art were over and were ready to do any work needed by the Motherland. However, it turned out that a sincere song, a passionate monologue and a dance helped people to cross the fatal line that separated their former life from the future, which some entered upon stepping over the threshold of recruiting stations, others saw their loved ones off to the front.
The beginning of the war significantly complicated the activities of the circles. This was due to the general difficulties of wartime, a sharp reduction in the number of amateur art activities and the need to restructure it on the rails of wartime. It had to use its own means to help the people's struggle against the invaders, to expose the inhuman essence of fascism, its pathological hatred of socialism.
Despite the difficulties of wartime, the deep nature of the people's interest in amateur creativity was revealed.
The development of amateur art activities was carried out, as it were, in three streams - in the rear, in active units and formations, in partisan detachments and zones. The most powerful during all the years of the war was the network of amateur circles in the rear, among the civilian population, in factories, factories, state farms and collective farms.
First of all, in the first months of the war, most of the circles sharply reduced their activity, many broke up and stopped working. This happened for several reasons. Firstly, in connection with the mobilization of a significant part of the population, especially men, to the front; secondly, because of the temporary but rapidly spreading occupation of part of the country's territory; thirdly, in connection with the destruction and transfer for other needs (use for hospitals, military courses, headquarters of formations, etc.) of part of the club institutions, as a result of which the circles were forced to change their usual place of employment and move to workshops, red corners , hostels, etc.; fourthly, in connection with the restructuring of everyday life, all life on a military regime, an increase in employment of the population and the duration of working hours; fifthly, the unfavorable psychological climate in the country, which developed in the first months of the war, also had an effect.
One of the exciting episodes of the war is the history of the creation of the dance ensemble of the Leningrad Front, which included teenagers who studied before the war in the studio of the Leningrad Palace of Pioneers. It was headed by R.A. Varshavskaya and Arkady Efimovich Obrant (1906 - 1973), smart, sensitive teachers who encouraged the creative initiative of the children, contributed to the development of their patriotic feelings.
In the first days of the war, Obrant joined the people's militia, and in February 1942 he received an order from the political department of the front to find his former students to replenish the propaganda team of the 55th Army. He managed to collect only 9 extremely emaciated guys. But a month later, Obrant prepared several dance numbers with them.
“... On March 30, 1942, the guys took part in a concert at a rally of nurses and doctors ... The guys danced, overcoming weakness ... And in the auditorium, the nurses were crying, it was impossible to refrain from tears at the sight of exhausted blockade children trying from the last strength, merrily and temperamentally dance, ”recalls A.E. Obrant.
After rest and treatment in the field hospital, the teenagers began to work with enthusiasm and soon acquired excellent dance form. In each number - and they mainly performed dances of a heroic content: Red Army dances and others - the guys put so much temperament and passion, as if they were fighting in a real battle.
The ensemble gave more than three thousand concerts for the soldiers of the Leningrad Front and the inhabitants of the city. On May 9, 1945, during the celebrations that took place on the Palace Square, young dancers performed the triumphant "Victory March". They rightfully deserved the high honor to participate in this holiday. This honor was awarded to many artists who performed on this unforgettable day in the squares of our country in front of thousands of spectators. The Patriotic War confirmed that Soviet artists were always with the people - both in times of disaster and in days of victories.
After the end of the war, all members of the ensemble (already consisting of 18 people) were awarded orders and medals and demobilized from the army.
In 1945, the ensemble was transferred to Lengosestrada, where the Leningrad Youth Dance Ensemble was created on its basis. During the harsh war years, the art of dance had a strong emotional and ideological impact on the then audience, which was in dire need of bright, joyful impressions. And this inextricable connection with folk life gave a new impetus to the development of Soviet choreography, including variety dance, prompting both new themes and new forms of their implementation.
The amateur art activities of the war years switched mainly to work in small teams. This allowed them to be highly mobile, easy to move. It was easy to organize their performances in a small room, in a hospital ward, at a railway station, a propaganda site, on a field camp, in a red corner, etc.
Moscow art circles gave over three thousand concerts in the Red Army units defending Moscow, at the construction of near and far frontiers. The collectives of Leningrad carried out the same work.
Amateur groups carried out a great concert and creative work among the soldiers of the Red Army both at the front and in the rear, speaking to them in places where military formations were formed, in hospitals.
According to the available incomplete data, in 1943 alone, participants in the amateur performances of trade union clubs gave concerts for 1,165,000 soldiers, commanders, and political workers.
Among the concert brigades in many areas, reviews and competitions were held for the right to perform in front of front-line soldiers. Genuine masters were selected for the brigades, who knew the art of song, playing instruments, acting data, who knew how to raise the spirit of the fighters, their mood with their art.
In the summer of 1942, a city review of propaganda teams was held in Moscow, in which 50 teams participated. From December 27, 1942 to January 5, 1943, performances by the best propaganda teams, circles and soloists of amateur art were held in the capital.
Various reviews began to be held especially actively since 1943. They were of great importance. Firstly, they made it possible to more actively restore pre-existing circles and form new ones, to involve new members; secondly, the reviews made it possible to significantly intensify the artistic and creative activity of the circles, increase the number of their performances in front of the population, in hospitals, in red corners, etc.; thirdly, during the reviews, ideological and educational tasks were better solved; fourthly, the reviews contributed to the effective solution of the problems of amateur art itself, its performing culture, the mastery of a new repertoire, the search for new means of expression and their dissemination.
In March 1943, the city committee of the All-Union Communist Party of Bolsheviks of Leningrad called for organizing amateur circles at houses of culture, clubs, red corners, and systematically holding reviews of Kh.S. In April-June 1943, a review of amateur art performances was held in the besieged city, in which 112 teams and 2100 participants participated. At the end of the year, a city-wide review of amateur performances took place in the hall of the Maly Opera Theater in Leningrad. During the blockade, amateur groups of Leningrad gave over 15 thousand concerts.
In the army, military councils began to hold reviews of amateur performances in regiments, divisions, armies, and at the fronts. Reviews were met with enthusiasm by the soldiers. In all parts, groups of dancers, singers, musicians, reciters, etc. began to be created.
From June 15 to September 15, 1943, the All-Union Review of Amateur Art was held. It was organized by the All-Union Central Council of Trade Unions and the Committee for the Arts. The review was of great importance for the development of creativity, it covered almost all regions of the country. Reviews were held in besieged Leningrad, in military units, in many areas liberated from occupation. The organizing committee of the review worked actively, which regularly controlled its progress, organized methodological assistance, visits of masters of art, students of art educational institutions to provide patronage assistance to circles.
On June 26, 1943, the organizing committee at its meeting heard a report on the amateur art show in Leningrad. In the decision of the organizing committee, it was noted that the review of folk art organized in Leningrad was an event that contributed to the restoration and further development of amateur art in the heroic city. 122 teams took part in the review, including 25 theatrical, 23 choreographic, 22 choral, 39 concert teams, 3 string orchestras, with a total number of more than 2 thousand people.
In the country as a whole, according to incomplete data, about 600 thousand workers, collective farmers, employees, united in 48.5 thousand collectives, participated in the review.
On September 25, 1944, the secretariat of the All-Union Central Council of Trade Unions adopted a resolution "On holding an All-Union review of amateur choirs and vocalists", which was held jointly with the Committee for Arts under the Council of People's Commissars of the USSR. It was the last review of amateur art performances of the war time.
In order to successfully conduct the review of choirs and soloists, to solve the tasks assigned to them, the All-Union Central Council of Trade Unions, the Central Committee of the All-Union Leninist Young Communist League, the Committee for the Arts, and other departments have developed and implemented major organizational and methodological measures, allocated additional financial resources for the development of circles, the purchase of costumes, equipment, musical instruments .
The best amateur groups were invited to speak on the radio, and other popularizing work was launched. Particular attention was paid to providing amateur choirs and soloists with a full-fledged Soviet repertoire and its high-quality performance.
All the tasks assigned to this review were completed. Amateur choral performances significantly restored their ranks, work in other genres became more active. If in the middle of 1944 there were about 5 thousand choirs with 80 thousand participants, then a year later there were 9315 choirs and 162 thousand 273 participants.
From August 20 to September 6, 1945, the final review was held in Moscow. It was attended by 40 best choirs selected at republican and regional competitions, 3325 choristers, 29 soloists. The final performances were held in the Hall of Columns, the Great Hall of the Moscow Conservatory, the best Palaces of Culture. The final concert, held in September 1945 at the Bolshoi Theater, resulted in a genuine celebration of Soviet amateur art, aroused great interest, and attracted thousands of new participants.
In 1943 - 1944 the regional houses of folk art, regional houses of amateur performances, created before the war, resumed their work. Soon after the blockade was lifted, the Leningrad Regional House of Folk Art was restored. These methodological centers began to carry out diverse work to assist amateur art activities, purposefully directed its development, strengthened patronage principles in the practice of choirs, drama circles, and orchestras.
By January 1, 1945 (2131 clubs were surveyed), there were 39,621 circles with 519,682 members in the club institutions of the trade unions.
In conditions when there was a sharp reduction in professional creative teams, amateur art performed their functions. In the most remote corners of the country, in the workshops of factories, in red corners, her voice sounded full-blooded. Amateur art, together with the entire Soviet people, forged victory in the Great Patriotic War.
Amateur art in the period of post-war reconstruction
A feature of the work of amateur art at that time was its transfer to the rails of peacetime, the development and enrichment of those parties in the repertoire, content, forms of organization that would serve to solve peaceful problems related to the restoration of the national economy, the satisfaction of new spiritual and aesthetic demands of the population.
In the process of this perestroika, the difficult tasks of restoring the ranks of amateur art activities, enriching its content, mobilizing not only for the glorification of military prowess, labor heroism, patriotism, and fortitude of the spirit of the Soviet people, but also for the reflection of peaceful tasks, for the defense of peace, and the establishment of the ideals of socialism were solved. This required significant efforts to improve the state and methodological guidance of amateur performances, training and retraining of personnel, creating a new repertoire, strengthening its material base, etc.
Work to solve these problems began from the first peaceful months. The existing ones before the war were restored and new regional and regional houses of folk art were created, training courses for leaders began to be organized again, they were freed from misuse and collective farm, state farm, state, trade union clubs were built again. Creative unions increased attention to the creation of a new repertoire.
Serious efforts were directed at restoring the network of club institutions. As a result of the measures taken, by the end of the 1940s, the number of club institutions not only reached the pre-war level (118 thousand clubs, including 108 thousand in the countryside), but also significantly exceeded it. In 1951, there were 125.4 thousand club institutions in the country, including 116.1 thousand in the countryside. And by the end of the 1950s there were 127,000 clubs.
From June to October 1946, the All-Union review of musical and choreographic amateur performances of workers and employees was held. More than 770 thousand people took part in it. The review was held by the All-Union Central Council of Trade Unions and the Committee for Arts under the Council of Ministers of the USSR. The review showed the rapid development of genres, the active search for expressive means in amateur performances, its restructuring in peaceful conditions. About 1,800 participants from various cities and regions of the country took part in the final concerts of the review, held in Moscow from October 1 to November 9, 1946. In total, about 3 million people participated in amateur performances at the beginning of 1947.
In the repertoire of amateur performances, the dominant place began to be occupied by works that glorify the return to peaceful labor, peaceful construction, the struggle for peace, and the rallying of all peace-loving forces.
In 1948, the first post-war All-Russian review of rural amateur performances was held. More than 11 thousand new circles were organized during the review. The review was attended by about 1.5 million collective farmers, workers of MTS, state farms, representatives of the rural intelligentsia. The final concert took place at the Bolshoi Theater in Moscow, a documentary film about him called "Songs of Collective Farm Fields" was shown with great success on the cinema screens of the country.
The achievements of amateur circles were annually demonstrated at district and regional reviews, which resulted in genuine holidays of folk art.
Beginning in January 1951, a number of measures were taken to identify the most talented amateur performers and send them to study at the conservatory and other art educational institutions.
This step envisaged not only the strengthening of professional groups with talented specialists, but also the direction of some of them to work with amateur choirs, orchestras, ensembles and studios.
In the early 1950s, the faculties of cultural and educational work at the Moscow, Leningrad and Kharkov Institutes of Culture began to train specialists who also mastered certain skills in working with amateur groups.
Thus, by the beginning of the 1950s, amateur art activities successfully restored their ranks, serious work was carried out to improve all its aspects, to provide specialists.
At the end of the 1950s, opera studios, large symphony and folk orchestras, drama and choreographic groups were again revived, which became capable of performing complex works. All this testified to a qualitatively new level of performing and general culture of amateur creativity, and really reflected the dynamic process of its development.
Further development is gained by amateur performance directly at the place of residence, in red corners, in the workshops of factories, factories, farms. The economic and party bodies encouraged the activities of circles, provided them with assistance, and considered them as one of the valuable forms of organizing the leisure of the population.
In the late 1940s and early 1950s amateur composers received a new impetus in development, the first post-war groups appeared, and pre-war ones were revived. The members of the circles actively learned the skills of composing writing, mastered special knowledge.
Houses of folk art, houses of amateur performances took various measures to help self-taught composers. As a result, creativity becomes even more massive and professional. Many of them were recommended to study at music schools. At the same time, amateur composing activities were replenished with persons who had undergone special training. Many of the accordionists, domrists, vocalists, etc. turned to writing. Farm managers often asked them to write a song about the plant, for an anniversary, etc.
Secondly, there was a lack of modern, topical repertoire, reflecting not only general social, state problems and rhythms, but also local ones - regional, city, district. We needed songs based on local material. And they appeared mainly from the pen of amateur composers.
Thirdly, the generally increased musical culture and education of amateur performance leaders, the opening of special musical educational institutions - schools, and in many - conservatories in almost all regional centers also contributed to the development of amateur creativity.
The repertoire of musical circles in Leningrad, Moscow and other large cities has been enriched even more. And this applied not only to the leading groups, but to most of them, to mass amateur performances.
At the turn of the 50s - 60s, it was widely practiced to hold reviews, competitions, festivals of amateur art in the regions, regions, and districts. They made it possible to maintain a high general tone of its development, timely eliminate emerging "bottlenecks", successfully solve the social tasks put forward by the party to the Soviet people. The best representatives of amateur performances participated in republican, all-Union competitions, reviews and exhibitions.
In 1959 - 1960. a review of the works of amateur artists took place in the regions, in the republics, and following its results, the 2nd All-Union Exhibition of works by amateur artists was organized. At the final stage of the review in Moscow, about 5 thousand of the best works of painting, graphics, sculpture, arts and crafts were exhibited. This is almost 2.5 times more than it was at the 1st All-Union Exhibition in 1954. In total, more than 500 thousand works were exhibited for viewing in districts, regions, territories, republics.
Further development was received by art studios, which became the main forms of teaching amateur craftsmanship. During the review, new forms of work of studios, circles with the population and participants arose. Amateur artists organized a significant number of art galleries, both in museums and in public places and cultural institutions. They lectured on art at public universities, lecture halls, and oral magazines.
It was carried out in a similar way in late 1961 - early 1962. All-Russian review of folk theaters.
Reviews of amateur performances, which played a large role in catalyzing its development, were held in all Union republics, territories and regions. For example, in Belarus in 1958 a decade of amateur art was held in Minsk; in 1959 - review of amateur performances of schoolchildren, collective farms and state farms; in 1961 - again a decade of amateur art in Minsk.
The Ministry of Culture of the Ukrainian SSR was one of the first in the country to open three-year faculties of social professions, to which young people were admitted on vouchers for the Komsomol and trade unions. At the faculties, leaders of musical, choral, drama and dance circles were trained according to the approved curriculum.
In the second half of the 50s, the first trips of Soviet amateur choirs, song and dance ensembles, folklore ensembles to the GDR, Hungary and Finland took place. These trips served to strengthen friendship between peoples and introduced foreign viewers to the achievements of folk art in the first country of socialism.
At international competitions in 1957. 7 Soviet amateur groups were awarded gold medals of laureates, 8 - silver and 7 - bronze. Among them are the folk choir of the Shestakovskaya MTS of the Voronezh region, the song and dance ensemble from Baku, etc.
Serious difficulties were observed with the repertoire of circles. Little was published and republished classical works. There was no purposeful work on the selection and recommendations, taking into account the features and possibilities of amateur performances of new plays.
Before the war, houses of folk art, houses of amateur art produced a significant number of collections of plays, songs, methodological instructions and manuals, recordings of dances, etc. through government publishers. Similar materials were published in large quantities in the journals "Amateur Art", "Cultural Work of Trade Unions", etc. Their publication ceased during the war years. They were restored only in the late 50s.
During this period, there was a clear decline in the development of traditional genres. The number of folk, symphony, brass bands, folk choirs gradually decreased. In 1952 1,123 out of 6,000 cultural centers and trade union clubs did not have choirs, 1,566 did not have orchestras, and more than 3,000 did not have dance groups. Collectives of these genres faced serious creative, organizational, and material difficulties.
Serious difficulties were also pointed out in the development of brass, pop music and dance art.
The need for qualified personnel was felt in all genres. Difficulties with personnel, with the repertoire, insufficient methodological assistance affected the growth of the general and musical literacy of the participants, teaching them professional skills in the field of drama, choreography and other types of art.
The task was to develop a methodology for teaching, educating in amateur performance, taking into account its specifics, relevant curricula and programs, textbooks and teaching aids.
The development of amateur art activities in the period from the late 1930s to the late 1950s, its enrichment, and the restoration of collectives that had been significantly reduced during the war years, were provided by various practical measures on the part of cultural bodies, party and public organizations, the management of enterprises, and collective farms. They played an important role in the emergence of highly artistic choirs, orchestras, drama and other groups, in the growth of the performing culture as a whole among the entire mass of circles. The public prestige of amateur performance increased, it more and more actively penetrated into social practice, the sphere of leisure of the population. Qualitatively new processes were observed in its development, reflecting the changes taking place in the socio-economic and spiritual spheres of the life of Soviet society.
Amateur art in the 60s-80s
In the early 1960s, about 550 thousand theaters, choirs, orchestras, groups of other genres, covering about 10 million people of all ages, professions, and various social status, operated in the ranks of amateur art.
A notable event in the life of dance on the stage in the early 60s was the appearance on the poster of a new name: Vladimir Shubarin.
In an article by Ya. Varshavsky, written by him in the same years (when critics began to pay great attention to variety art), there is an interesting observation of a general nature, explaining to some extent the extraordinary popularity of Shubarin. Comparing a pop dancer with an academic one, the critic wrote: “He looks more everyday, “earthly”, even if he has a complex technique. The entertainer, as it were, shows the viewer himself - an “ordinary person”, teases the creative beginning in him, shows how much, in essence, he has talents.
Shubarin's appearance is usual - a Russian boy, of small stature, well-built, although not flawless build. But from the very first appearance on the stage, it becomes clear that he was born for the stage.
The main charm of the dancer is in the ease of manner. Having bowed in a friendly manner and immediately won the sympathy of the audience with a friendly smile, he begins to tell, that is, to show, although this reservation arises for a reason, how clever, mobile, elegant our contemporary is, how light irony is characteristic of him and with what captivating simplicity he can unexpectedly accomplish the unprecedented .
The work of Shubarin, who is also the director of most of the numbers he performs, goes in the same direction as the entire Soviet choreography. He is looking for a strong fusion of virtuoso classical dance with modern plasticity - that fusion of technology and aesthetics, from which one can create diverse and complex images. Of course, with the addition of acting expressiveness and fantasy - Shubarin is also endowed with them.
Vladimir Alexandrovich Shubarin (1934) came to the stage in 1963, already having the title of Honored Artist of the RSFSR, which he received as a soloist of the Red Banner Song and Dance Ensemble. Prior to that, Shubarin worked in the Ensemble of the Moscow Military District, even earlier - from 1951 to 1954, in the Pyatnitsky Choir, masterfully performing Russian dances.
For the first time, Shubarin joined the dance in an amateur circle of the Builders Club of the city of Novokuznetsk, where he studied at the metallurgical technical school. In the circle, the emphasis was on the study of folk dances, although some basics of classical training were also passed - in a word, the usual program of circle classes was given. But one of the educators in the past has been speaking classes. But one of the teachers, who had previously performed as part of a jazz orchestra, introduced Shubarin to the techniques of eccentric dance, tap and tap dance techniques, which he quickly mastered. And yes, I fell ill with jazz.
At first, he just liked to fantasize movements to popular tunes. Awareness of the rhythmic richness of jazz music, its improvisational nature, which gives great scope for creativity, came to him later, when he became a mature dancer.
In the 60s, the understanding finally came that jazz, although a contradictory phenomenon, is nevertheless connected by its roots with folk art, mainly with Negro music. The point of view that dominated for many years on jazz as "the music of the fat" ceased to obscure "the true value of jazz: its collectivity, festivity, spectacle, openness for the direct participation of listeners in the musical action."
In 1962, the next plenum of the board of the Union of Composers of the RSFSR was devoted to the problems of song and pop music (including dance music). Opening the plenum, D.D. Shostakovich emphasized: “In recent years, many improvised jazz have appeared. They have a wide youth audience, they bring a specific musical beginning to the musical life, but they work without any criticism and support. Their activity deserves a comprehensive discussion, because it contains a lot of obscure, contradictory things, but at the same time it meets real-life needs.” Shostakovich called on composers to work in all genres and forms of popular music, remembering that it is "the property of millions."
In subsequent years, not only this brilliant musician, but also many talented composers created instrumental pieces and pop songs intended for jazz. Worse was the case with dance music, and consequently with the dance itself.
Timid attempts to create their own, Soviet everyday dance did not bring success, and young people stubbornly wanted to dance something new. Along with the melodies of rock and roll, twist, neck, etc. leaked information about how they should be performed. Most often, this information turned out to be inaccurate, they were supplemented by the dancers' own imagination, who were not aesthetically prepared, who did not own elementary dance techniques. Shubarin persistently deepened his knowledge and understanding of jazz music. He even learned to play the percussion instruments, which helped him in his work, as he taught him to “lay out” rhythmically any piece of music written for jazz.
During the foreign tours of the Red Banner Ensemble, Shubarin did not miss the opportunity to get acquainted in more detail with the jazz style of dance, which is based on many elements not only of Negro folk dances, but also of Latin American ones. At the Mexican Academy of Dance, he attended 10 lessons in the modern dance department. In Los Angeles, while training with the troupe of J. Balanchine, Shubarin discovered his understanding and ability to combine classical dance with jazz style and received valuable advice from an American choreographer. In this way, knowledge gradually accumulated, which formed the foundation of the individual style of variety dance created by Shubarin.
The orchestra performs a jazz piece and the viewer is transported to the atmosphere of the beginning of the century, when jazz melodies were still melodic and naive, dandies wore striped jackets and boaters, and cake-walk, matchish and Charleston were fashionable dances. Shubarin does not restore these dances. It only accentuates their most characteristic features: syncopation of rhythm, some mannerism of performance, slight eccentricity of movements. He deftly plays with accessories: a cane, a top hat - and with some completely elusive strokes he suddenly evokes familiar images of Chaplin, Harold Lloyd - the first heroes of comic films that once owned the hearts of the audience.
Unfortunately, Shubarin did not listen to the opinion of professionals who advised him to involve directors in the creation of his programs. Moreover, young choreographers who feel the style of jazz music began to appear on the stage. In addition, being constantly on tour, sometimes performing during the day in several concerts, Shubarin was simply physically tired and somehow went out internally.
Feeling, apparently, some trouble, Shubarin began to look for new forms of building a program (at one time he performed with a dance group, which did not contribute anything fundamental to his work). Unfortunately, he did not realize that the main thing for him was to find a choreographer who was close in understanding the tasks of pop choreography, who could help express his interesting ideas in a figurative dance language. In particular, the development of the synthesis of jazz forms of dance with national elements, so interestingly announced earlier by this talented dancer, who set new high standards of performance skills on the stage, creating his own unique genre.
At this time, the promotion and assignment of the title of "folk" musical groups, circles of other genres took place. In 1959, there were four folk musical groups, and in 1965 there were already 455. In addition, there were 128 song and dance ensembles and 134 dance groups bearing the title of "folk". In total, by this time there were more than 1600 folk groups.
Of the 455 folk musical groups, there were 137 orchestras and 318 choirs.
The emergence of folk groups was rightly recognized as the most important milestone in the development of amateur creativity. Being exemplary in a certain sense, folk groups became methodological, consulting centers, assisted circles and groups of workshops, red corners, etc.
The quantitative growth of amateur art in the second half of the 60s - early 70s was particularly intense. Suffice it to say that in 1970 13 million adults and 10 million schoolchildren participated in amateur groups. In 1975, more than 25 million people united amateur activities. By this time, more than 9 thousand amateur groups bore the title of "folk".
At the end of the 60s, amateur performances of the clubs of the system of the Ministry of Culture and performances, which were watched by about 250 million spectators. In the mid-70s, the number of spectators of amateur performances began to amount to more than 500 million annually.
This period includes the wide development of multi-genre principles in the practice of amateur art. We are talking about the emergence and rapid development of such amateur organizations as folk philharmonics, folk conservatories, folk singing schools. They united both entire amateur groups, music, choral studios, and individual performers. In each republic, the Regulations on the People's Philharmonic Society were developed, which regulated the entire organizational, creative, financial, etc. practice of this type of amateur associations. Folk philharmonics, conservatories, singing schools carried out serious, systematic educational work, organized a cycle of concerts, thematic shows, made the process of creative growth of choirs, orchestras more focused, organized methodological assistance, etc.
During this period, amateur folk orchestras, instrumental ensembles, and Russian song choirs continued to develop.
It is interesting to note that orchestras of Russian folk instruments continued to be created not only in Russia, but also in many union republics - primarily in Ukraine, in Belarus. During these years, in Lithuania, in addition to orchestras of national instruments, there were 11 orchestras of Russian folk instruments.
Competitions, festivals, reviews held in the 60s on the scale of both the country and the republics, territories, regions and districts played an important role in improving amateur art, improving the skills of participants, mastering a new repertoire, and developing various genres.
In 1963 - 1965 in all the republics, competitions of rural amateur performances were held. More than 3 million people took part in them. About 5,000 choirs, orchestras, drama clubs and groups of other genres were awarded various awards. Rural folk and academic choirs, folk and brass bands actively declared themselves, the first family musical ensembles appeared on the stage.
Propaganda teams, folk theaters, choirs and groups, orchestras and instrumental ensembles, dance groups, amateur composers, poets, amateur filmmakers took part in the review. In the course of the review, more than 13,000 rural circles were again organized in the RSFSR. This All-Russian review of rural Kh.S. 1963 - 1965, which ended with a concert in the Kremlin Palace of Congresses, intensified the activities of rural amateur groups, raised the ideological and artistic level of creativity, and involved new layers of the working masses in amateur performances.
After the completion of the review of rural amateur performances, summing up its results in 1966 - 1967. The All-Union Amateur Art Festival was held, dedicated to the 50th anniversary of the Great October Socialist Revolution. It was one of the most massive and representative events in the history of folk art: the participants were invited to create performances on modern and heroic themes.
The All-Union Festival of Amateur Arts was held jointly by the State Committee of the Council of Ministers of the USSR for Vocational Education, the Committee on Radio Broadcasting and Television, the Union of Composers of the USSR, the Union of Writers of the USSR, the Union of Artists of the USSR, the Union of Cinematographers of the USSR, theater, dance and choral societies. Including 200 dancers, 46 choreographers, 13 theatres, Moscow and Leningrad concert organizations and the oldest choreographic schools - Leningrad named after Vaganova and Moscow.
The main tasks of the review in the resolution were announced: the further development of amateur art, attracting fresh forces to the ranks of its participants, raising the ideological and artistic level of creativity of the masses, developing all types and genres of amateur art in clubs, houses and palaces of culture, at the place of work and residence, study , service; propaganda by means of art of the world-historical significance of the Great October Socialist Revolution, the achievements of the Soviet people and the peoples of other socialist countries; replenishment of the repertoire with the best works of literature, music, dramaturgy of Soviet and progressive foreign authors; improvement of educational work; strengthening creative ties between mass amateur art and professional art, systematic assistance to amateur groups from creative unions; promotion of the achievements of amateur art among the population, etc.
The task was to attract the creative intelligentsia to participate in the organization and holding of the All-Union Festival. Thousands of professional art workers participated in rehearsals, hosted performances and concert programs of amateur choirs, orchestras, held seminars, creative conferences, etc.
Widespread propaganda of the achievements of folk art was carried out by means of radio, television, and the press. Dozens of amateur art groups from all Union republics made creative reports on Central Television. Even the final concert of the All-Union Festival was broadcast from the Kremlin Palace of Congresses.
The All-Union Organizing Committee, a bureau, a secretariat, a directorate of the festival were created for the direct management of the festival, sections on the arts were formed, as well as a section for holding the festival among schoolchildren. The interdepartmental nature of the event made it possible to strengthen the business community of cultural bodies, creative unions, art institutions, trade union, Komsomol and military organizations.
The All-Union Festival became a huge event of political and cultural significance in the life of the country, and had a profound influence on the further qualitative and quantitative development of amateur art.
Since the mid-1960s, amateur performances have received further significant development. There were political, student and tourist song clubs.
Many works by amateur authors were included in various repertoire collections, performed by amateur groups. During the All-Russian review of amateur art in 1967, about 500 works created by amateur authors - composers, playwrights, poets - were performed at zonal reviews alone. This amounted to about one third (!) of all performed works.
From May 11 to August 21, 1972, a review competition of amateur song and dance ensembles of the Union republics was held at VDNKh of the USSR, dedicated to the 50th anniversary of the formation of the USSR. The winners of the review competition - teams and individual performers were awarded gold, silver and bronze medals of VDNKh of the USSR, certificates of honor.
For two years, the All-Union Television Festival of Folk Art was held, dedicated to the 50th anniversary of the formation of the USSR. There were 18 TV shows in which more than 12 thousand amateur performers performed. The final concert of the festival took place on November 29, 1972 at the Kremlin Palace of Congresses. More than 500 amateur performers took part in it. The concert was broadcast on the Intervision program. As a result of the festival, 17 musicians from 17 dance groups were awarded with special prizes and awards.
The All-Union jury of the festival was headed by the People's Artist of the USSR S.Ya. Lemeshev. The jury members were well-known masters of musical culture A. Prokoshina, V. Fedoseev, T. Khanum, G. Ots, T. Chaban and others, who at the same time headed the jury of the television festival in the republics.
By the mid-1970s, there were about 23 million participants in H.S. More than 160 thousand academic and folk choirs, 100 thousand musical groups, orchestras and ensembles, a huge number of circles of other genres worked.
As a result of the measures taken by the state and economic bodies, the material base of the clubs has been significantly strengthened, and their network has grown.
In 1970 there were 134,000 clubs in the country. The number of rural clubs and houses of culture has increased significantly. If by the beginning of the 70s there were a little more than 18 thousand of them, then by the end of 1975 there were 34 thousand. Rural houses of culture carried out significant work on organizing amateur art activities.
Even more favorable conditions began to take shape since 1974 in connection with the centralization of clubs and the creation of cultural complexes. The creation of centralized club systems made it possible to unite all the work around the base clubs, rural houses of culture, whose workers not only led amateur circles in their institution, but also helped the branches.
Houses of folk art, amateur art houses provided various and systematic assistance to amateur art groups and circles of all genres: methodological, organizational and instructor, creative, personnel.
Unreasonable appropriation of the title "folk" to many choirs, orchestras, dance and drama groups was allowed. Many of them did not meet the requirements for folk groups, did not conduct proper creative and educational work.
The second half of the 70s was marked by a number of important events in the development of folk art. In early 1976, the 25th Congress of the CPSU took place. In the decisions of the congress, the main directions of development of the national economy of the USSR for 1976 - 1980. the task was set to further raise the level of work of cultural and educational institutions, public universities, and to develop the artistic creativity of the masses.
In May - September 1975, a review competition of amateur art groups dedicated to the 30th anniversary of the Victory was held at the VDNKh of the USSR. It was attended by the best teams from the Union republics - the winners of the All-Union Festival of amateur art.
In addition to performances on the open stage of VDNKh of the USSR, groups gave concerts in parks of culture, at enterprises, and in clubs. The winners of the competition were awarded diplomas, and their leaders and soloists - gold, silver and bronze medals and cash prizes.
Particular attention was paid to folk choirs and orchestras, brass bands, folklore groups. During the festival, more than a thousand new brass bands were created.
In the field of instrumental music, a slight increase in the number of amateur orchestras - symphonic, brass, folk, etc. - has become a welcome development. Small instrumental ensembles - quartets, quintets, duets, trios, etc., ensembles of accordion players, bandurists, violinists, komuz players, domrists, mixed compositions, vocal and instrumental groups - have also become widespread. According to the results of the show, the best of the bands were recommended for the final concert in Moscow.
During this period, sponsorship of amateur art activities from professional art was significantly strengthened. This work fell apart, as it were, into two types - artistic and educational and methodological assistance. Theaters, musical groups took patronage over amateur performances of state farms and collective farms. Experienced craftsmen led amateur groups, literary associations, folk theaters.
New forms of cooperation began to take shape. In the second half of the 70s, agreements on direct cooperation were concluded between the Central House of Folk Art named after N.K. Krupskaya (sent to partners a significant amount of repertoire and methodological literature published in the USSR), the Central House of Cultural Work of the GDR and the Center for Amateur Arts of the NRB.
The system of methodological guidance of amateur art activities was reorganized. On the basis of the All-Union House of Folk Art, which has been operating since 1976, in 1978 the All-Union Scientific and Methodological Center for Folk Art and Cultural and Educational Work was established.
In the republics, territories and regions, on the basis of houses of folk art and methodological rooms for cultural and educational work, respectively, republican, regional and regional scientific and methodological centers of folk art and cultural and educational work were organized.
The publishing, personnel, and financial aspects of the activities of the centers have been strengthened. They began to delve more deeply and professionally into the essence of the processes taking place in amateur performances. Many publishing houses, central and republican, have increased the output of works for amateur performances. Publishing houses "Music" and "Soviet composer" began to publish special series to help amateur art.
In the early 1980s, more than 40 serial publications, libraries, collections for amateur performances were published in the country. The all-Union firm Melodiya began releasing albums and individual records for discos, VIA, and other amateur groups.
It is very important that these creative teams and associations work for the formation of healthy cultural needs of people, high civic aesthetic ideals. Because any form of leisure should spiritually enrich a person, promote the creative growth of a person, his self-affirmation and self-expression.
Among the youth, VIA and discos are quite popular. These forms of spending free time especially attract young people. Each of them has undeniable advantages. The VIA genre is a fascinating kind of amateur art, capable of deeply revealing the creative potential of an individual, responding to topical, burning problems of the time.
As time went on, the ensembles matured, the audience changed. The performers have also matured. Higher-quality equipment also appeared, distortions and wheezing that annoyed many disappeared, sound engineers learned how to more accurately build balance at concerts. The programs of most VIAs contain many light, danceable songs. There are many songs devoted to moral problems, understanding life. This theme was added to the anti-war, social and patriotic, thereby enriching and expanding the genre.
In this regard, the activities of amateur musical groups and their most massive type, pop vocal and instrumental ensembles, should be considered as one of the most effective areas of ideological and aesthetic education of young people. Effective primarily due to the popularity of this type of creativity - we can say that most teenagers go through this hobby. That is why the organizational and creative problems of amateur pop vocal and instrumental ensembles are the subject of close attention of cultural authorities, the media and the musical community.
In the disco, young people are attracted by the possibility of unregulated communication, the manifestation of creative imagination, active participation in the action not only of the organizers of the evenings, but also of their visitors.
There are also performances by singers, poets and musicians in the disco.
A disco is a creative team that brings together people of various specialties, inclinations, talents based on interest in music and art; center of active ideological propaganda, moral and aesthetic education of youth with the use of effective technical means; an indispensable participant in many events in the city, district, at the enterprise; a creative laboratory in which the synthesis of various genres of art is carried out; a small “institute of sociological research”, where the tastes and needs of young people are studied through questionnaires and surveys. direct dialogue; "design bureau", where a wide variety of technical devices are conceived, designed and manufactured; "an educational and methodological center", in which knowledge is acquired through self-education and in the process of communicating with experienced specialists.
In fact, the members of a disco group - a music lover who prepares a phonogram, and an engineer who assembles a color-music device, a photographer who makes the photo frames necessary for the program, and an engineer who invented automatic control of a slide projector - they all work on the same task: they create their next program, in which their skills and deeds merge together.
Many groups that started their activities as disco dancers gradually turned into disco clubs. Sections of variety and jazz, classical and folk music, and amateur songs have been launched at the club.
Disco clubs consist of 11 people. These are workers, employees, engineers of the plant. People are enthusiastic, creative, constantly inventing and inventing something.
In the disco movement there is TMT - these are theatrical and musical troupes. Their participants try to synthesize different types of art in a single disco program: theater, cinema, poetry, dance and, of course, music.
This situation of VIA and discos is explained, first of all, by an acute shortage of qualified personnel. Many heads of cultural institutions and organizers of amateur associations lack knowledge, experience and artistic taste. Therefore, the most important thing for further
