The concept and functions of an artistic group. Regulations on the group of amateur art activities Functioning of the amateur art group

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

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

Essential features of amateur creativity: voluntariness of participation in an amateur group, initiative and activity of participants in amateur activities, spiritual motivation of participants in amateur groups, functioning of amateur activities in the field of free time. Specific 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.

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

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

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

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

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

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

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

Creative search, non-standard approach to the problem of development and formation of talent can generate interest in artistic activity. This predisposition to creativity lies in the very nature of man. Therefore, the 21st century defines many tasks in the organization of a purposeful and systematic pedagogical process for the formation and development of the creative potential of the individual, both among the urban and rural populations.

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

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

To the traditional types and genres of amateur art E.I. Smirnova says:

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

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

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

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

Revealing the traditional classical type, one can represent musical groups by such genres and types as academic (choirs and ensembles), symphony and brass bands. Theatrical - folk theaters and new forms - musical theater, folk groups. Choreographic groups are the dance art of the classical, ballroom, pop genre. Fine arts include studios of painting, author's design art (development of sketches, etc.). Genre-species diversity, which differs in types of creativity, has further development paths in amateur performances. Since the inclinations of creative perception are already laid in a person from birth, then in the process of life, developing his abilities and using the acquired experience, a person involuntarily contributes to the manifestation of neoplasms in amateur performance.

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

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

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

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

Many researchers in the field of artistic creativity note the advantage of unorganized amateur performance, spontaneous. In most cases, it quickly appears and falls apart, and not many of them acquire an organized form of life creation (educational activity involving creativity; professional art; amateur art activities of the masses). Such creative activity has the highest form of man's manifestation of his creative powers and skills.

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

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

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

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

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

An important feature of the team is that it aware themselves as a pedagogical force, believes in their ability to educate, educate and otherwise influence their members, shows purposeful activity in the implementation of influences on everyone, and especially on those in need of help, support, improving professional skills, overcoming the difficulties experienced and existing personal weaknesses, etc.

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

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

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

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

2) Organized under the guidance of a pedagogical team of a certain type and genre of artistic activity;

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

4) Participants demonstrate their artistic values ​​to the audience, performing the functions of their education and development.

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

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

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

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

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

Team Functions

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

The initial functions are the involvement of people in artistic activity and communication. The collectives' serious efforts are aimed not only at generating interest in the consumption of works of art and folk art, but also at awakening readiness for independent artistic activity and communication.

The creative team also has other functions.

Inclusion of participants in artistic activity and communication is a form of their “transition” from labor (educational) activity and communication to activity and communication intended for their active recreation.

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

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

If the first two functions - involvement in activities and communication - draw attention to the need to involve people in intra-collective life in the artistic field, then the next two - on the nature of this activity and communication, which should be forms of active recreation imbued with feelings of optimism and joy. In these functions, the artistic and pedagogical orientation of the team was not explicitly revealed. However, without them it is impossible to characterize it in its entirety.

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

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

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

The manager has a problem when he
does not satisfy the artistic and aesthetic performance of the work. As if the participants conscientiously and faithfully reproduce it, but do not rise to a high creative level. The leader then seeks to solve a complex system of tasks aimed at developing a creative attitude to aesthetic activity and communication in a team, developing abilities and needs for constant search and improvement in performance, to bring into it a creatively unique, individual-peculiar ideological and artistic vision and experience. Thus, the team of artistic creativity must perform the function of artistic, aesthetic, cognitive and moral development of the participants, so that they become true creators of spiritual values.

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

These functions of the artistic group are "internal", because they are focused on solving problems within it. Therefore, it is necessary to consider its "external" functions implemented in the process of influencing the audience (listeners).

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

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

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

The propaganda function contains the moment of inducing the audience (listeners) to active aesthetic actions. The performances of the participants are designed to form in them the desire to create "according to the laws of beauty." The agitation function is also manifested in the fact that the spectators (listeners) involved in aesthetic activity and communication perceive the participants as their colleagues in study, work, military service, whose example they can follow. They develop a readiness for aesthetic activity, while it can be different in terms of awareness, stability, depth.

Art groups perform another function - educational. It deepens the audience's ideas about events and phenomena, introduces them to facts unknown to them, broadens their cultural horizons and develops cognitive abilities.

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

The artistic creativity team organizes, directs and manages the processes of involving spectators (listeners) in artistic and aesthetic activities and communication, recreation and entertainment, carries out artistic and aesthetic propaganda and agitation, promotes the education, upbringing and development of spectators (listeners). Thus, we can say that the functions of organization, leadership and management are inherent in artistic creativity.

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

Team types

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

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

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

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

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

Along with the above, there are also groups that can conditionally be attributed to the third stage - these are amateur theaters, folk dance ensembles, orchestras, choirs, etc. They learn and perform a repertoire that requires a relatively deeper understanding of works of artistic culture. Educational and educational work in such groups acquires the character of systematic classes, in which the profile type and genre of art, technical and expressive means, etc. are studied.

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

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

In such groups, two levels can be distinguished, as it were. First level- these are beginning groups that have a relatively short history of their artistic life and solve ideological, artistic and educational problems of medium complexity. Second level n - these are groups that have accumulated a lot of artistic and performing experience and consist of participants who have gone through a good school of stage and artistic training. Often, for example, in the same dance ensemble, one of the primary groups can be of the first level, and the other of the second. In each of them qualitatively different is built
educational process, creates its own artistic
repertoire corresponding to the possibilities and abilities of his
participants.

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

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

Primary-type circles are often headed by public teachers, groups of the first and second stages - most often leaders with secondary specialized training, who graduated from cultural, educational, musical, theater schools, etc.

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

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

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

Unlike the previously discussed groups, the studios are special educational and artistic institutions. In them, according to a special program, they study the basics of the theory and history of the specialized art form, and much attention is paid to classes in mastering performing and practical skills.

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

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

To the second can be attributed to studios, which, in addition to teaching and educational work, also conduct a large performing activity. As they accumulate artistic experience, they demonstrate interesting stage solutions, which are characterized by a fairly high level of performance skills, general and artistic culture.

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

K. S. Stanislavsky belongs to a detailed description of the purpose of the studio as a center of creativity and education of students.

“The studio is the initial stage, where people should be gathered, who are quite consciously aware that the whole life of a person is his own creativity ... “The studio is not a place for random passing of roles. One cannot come here with a desire at such and such a time or for such and such a need, dictated by random circumstances, to play this or that role ... A student is one who sees his life's work in his art, one for whom the studio is family ... Entering the studio, he should enclose himself in a circle of beauty, lofty, pure thoughts about his work and rejoice that there is a place where he can unite with people who strive for beauty like himself.

A student is that development of human consciousness, where the idea of ​​love for art, becoming a guiding principle, awakens mutual respect and goodwill in everyone.

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

One and the same studio can be a team consisting of several primary teams, each of which can be attributed to different types. So, for example, in a children's amateur choral studio, there are most often junior, middle and senior groups of the choir. In fact, schoolchildren of different ages and different musical backgrounds work in the studio in three choirs, gradually “transitioning” from one to another.

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

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

Consider now collective classification on other grounds.

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

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

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

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

According to the duration of functioning, it is necessary to distinguish between temporary and permanent groups of artistic activity. Temporary ones are created in rest homes, sanatoriums, pioneer and sports camps, boarding houses, bases recreation and tourist bases. Permanent ones last a long time.

In a club establishment of one production team, an educational institution, teams of various levels often interact - from elementary-type circles to studios and theaters.

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

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

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

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

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

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

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

Influence of amateur performances on the development of modern society.

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

The pleasure received from cultural and creative activity expands the artistic horizons of the individual, and also contributes to the implementation of the social functions of culture (enlightenment, career guidance, recreational, hedonistic, procreative, self-fulfilling, creative). It is amateur art that most effectively contributes to the spiritual restoration of the individual through mastering the cultural values ​​of the past and present.

One of the active forms of the cultural and creative aspect of activity is unorganized amateur performance (domestic choreography, song performance and music making), which is a fertile ground for satisfying creative needs and interests in amateur art. The first step towards artistic amateur creativity, of course, is the instinctive behavior of the individual. Involuntarily penetrating art, both in mass action and in the inner world of a person, is reflected in the heterogeneity of its perception and is determined by the measure that is most acceptable to the existing environment. The cultural values ​​transmitted by tradition have an impact on the formation of the “ideal”, since their life path is endless.

Thus, the essence and meaning of modern amateur art activity lies in the direct familiarization of the general population with art classes, the co-mastery of the skills of artistic creativity, and the introduction of creativity into everyday life.

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

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

Not every amateur art activity can be classified as amateur art. Amateur art in the proper sense of the word begins where art ceases to be a private matter, limited to a family or friendship circle, and acquires a more or less broad social character and social orientation. In other words, amateur art presupposes, firstly, a certain degree of social organization and, secondly, an appeal to a certain audience of viewers or listeners. And this, in turn, presupposes such a level of artistic training, at which amateur performance participants are able to respond with their art to the aesthetic requirements of the time.

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

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

Modern amateur art in its predominant part (and as for the city, the vast majority) focuses precisely on those areas of creativity, performing arts, which have reached heights thanks to great professional traditions. Naturally, it requires, first of all, qualified and quite professional leadership and creative assistance from special institutions and organizations, criticism and the press, and the artistic community.

Amateur artistic creativity attracts many people of different ages with its irregularity, freedom and

voluntary choice of its types and forms. Since ancient times, man has sought to express his personal worldview through dance, drawing, song and much more.

In parallel with the aspects of scientific knowledge and knowledge by means of art in amateur art, there is a correlation of two processes - socialization and individualization. As a result of their interaction, a modern idea of ​​the activity of the individual is created. Being an organized aspect of cultural activity, amateur artistic creativity involves both collective and individual, unorganized actions and is most accessible to everyone. A special role in it is assigned to amateur enthusiasts, who gather around themselves the general mass of the people, where everyone is talented in their own way. Amateur creativity is based on the possibility of attracting the human intellect to the analysis of their needs, as a way of free choice of ways and forms of revealing one's potential, one's talents. “... To be a person means to have freedom of choice and carry the burden of choice throughout life, but not like a cross, but like a deed that gives joy,” A. Asmolov wrote.

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

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

Professor Salakhutdinov R. G. in his book “Socio-cultural creativity as an effective means of forming a cultural environment” gives a classification of socio-cultural creativity, where among all these areas there is also amateur artistic creativity:

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

Amateur art activities focused on professional art;

Mass amateur performances (musical, dance, theatrical, visual and others);

Folk arts and crafts;

Original amateur performance that has no analogues either in professional art or in folklore, which, in turn, hasfunctions :

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

Realization of aesthetic needs and artistic abilities of people;

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

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

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

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

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

Both of these results fully complement each other and affect the health of the nation and the development of modern society as a whole - society has a huge impact on the individual, but true inspiration manifests itself when a person has identified and chosen his "valuable", and each individual has certain values ​​that act as a link between the culture of society and the spiritual world of the individual, between social and individual existence.

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

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

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

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

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

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

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

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

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

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

Folklore is amateur art.

Folklore and spheres of its manifestation.

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

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

In connection with this range of problems, we should also talk about the duties of folklore in relation to amateur art. These duties are undeniable and significant, but they have their own limits, their own specifics, and this must be taken into account. Folkloristics, referring to this sphere of folk art, remains folkloristics - with its own subject, with its own range of problems, it does not change either its nature or methodology. But, of course, new aspects and tasks bring something new to science without breaking its structure. Along with this, there are tendencies, the essence of which is determined by the orientation towards folklore or semi-folklore forms of creativity. These trends are heterogeneous in nature, and it is important to differentiate them in order to more clearly understand the features of the ongoing processes.

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

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

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

The first and elementary form of inclusion of folklore in amateur performances is the appearance of folk singers, storytellers, musicians, and dancers on the stage.

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

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

In working with folklore, amateur art also has its own dangers. One of the main ones is the imaginary ease and apparent accessibility in mastering folklore techniques, superficiality and approximation, which very soon turn into elementary bad taste and just hack-work. In the performance of professional artists, a folk song usually loses this local color, becomes somewhat discolored, but is colored by the individuality of the given artist.

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

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

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

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

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

Selection of repertoire for amateur groups. requirements and criteria.

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

amateur and professional creativity is true in relation to

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

The correct selection of repertoire is a crucial moment in the work of amateur groups. The repertoire brings up the artistic taste of the members of the collectives, expands their general educational and cultural range. Only a properly selected repertoire, both artistically and technically, contributes to the creative growth of the team, improving its performing skills.

The repertoire must be ideologically meaningful and artistically valuable, varied in content and consistent with the theme of participation.

The problem of the repertoire for amateur performances enjoys increased

attention of practitioners, the public, composers, choreographers,

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

Their main tasks are: organization of work on the creation

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

There are two ways to create such a repertoire. Firstly,

"adapt" the existing specific team and, secondly, to create new original works designed for amateur performances.

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

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

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

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

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

Similar requirements apply to a group of any genre - dance, choral, orchestral (folk, pop, spiritual).

One of the criteria in the selection of repertoire is its reality,

compliance of the repertoire with the technical and artistic capabilities of the collective.

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

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

Such a repertoire contributes to the rapid improvement of the skills of the participants, the development and consolidation of playing skills; develops among performers an interest in folk art, in teamwork, enriches the spiritual world, internal culture, aesthetic tastes.

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

Another group of works introduced into the repertoire of amateur groups is associated with folk song, folk dance, folk instrumental music. These are either interesting arrangements, arrangements, or original doubts created on their basis. Nevertheless, in every region of Russia and other union republics, local dance, singing, and musical features that have developed from time immemorial are preserved. Careful attitude towards them, their promotion is one of the important tasks of amateur art.

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

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

Bibliography

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

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

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

Kisileva T.G., Krasilnikov Yu.D. Fundamentals of socio-cultural activities: Textbook. - M .: MGUK Publishing House, 1995

Eroshenko I.N. Cultural and leisure activities in modern conditions. - M .: NGIK, 1994

Municipal budgetary educational institution

additional education for children

Children's Art Center No. 6

Methodical development

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

Developed by:

additional education teacher

Akhtyamova Z.L.

Ulyanovsk

2016

POSITION

ABOUT COLLECTIVES OF ARTISTIC ACTIVITIES, CLUBS OF INTERESTS AND CREATIVE ASSOCIATIONS

MUNICIPAL BUDGET INSTITUTION OF CULTURE

PALACE OF CULTURE ENERGOMASH

1. GENERAL PROVISIONS AND MAIN TASKS OF THE STAFF

ARTISTIC ACTIVITIES, CLUB

BY INTEREST AND CREATIVE ASSOCIATION

1.1. Amateur art groups, interest clubs, creative associations carry out their activities on the basis of the municipal budgetary cultural institution Energomash Palace of Culture. They are maintained at the expense of budgetary and extrabudgetary funds, targeted programs and income-generating activities, which, in accordance with the law, can be directed to the needs and support of the team.

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

1.2. An amateur art group, an interest club and a creative association is a voluntary association of people based on common interests, requests and needs in amateur artistic and technical creativity, in joint creative activities that contribute to the development of the talents of its participants, the development and creation of cultural values ​​by them, and also based on the unity of the desire of people to obtain up-to-date information and applied knowledge in various areas of public life, culture, literature and art, science and technology, to master useful skills in the field of culture of life, a healthy lifestyle, leisure and recreation.

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

1.3. The team of amateur performances, an interest club and a creative association is intended to contribute to:

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

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

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

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

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

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

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

1.5. The creative work of amateur art groups, an interest club and a creative association should include:

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

Activities to create a creative atmosphere in teams, teaching the skills of artistic creativity;

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

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

For creative success and social activities to popularize traditional folk culture, participants and leaders of folk art groups can be presented with various types of encouragement, namely: a diploma, a badge of honor, the title of an honored worker of culture.

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

2. EDUCATIONAL AND CREATIVE WORK OF AMATEUR ART GROUPS,

CLUBS OF INTEREST AND CREATIVE ASSOCIATIONS

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

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

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

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

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

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

2.1.6. In groups of circus art (circus, performers of the original genre) - classes on the study of the history of circus art; exercise and physical development; technique of circus art, musical and artistic design, director's decision of the performance.

2.2. Creative and organizational work in teams should include:

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

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

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

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

2.3. Classes in all teams are held according to the approved work schedule of the team.

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

2.5. The performance of amateur art groups with concert programs or participation in a group concert is held at least 1 - 2 times a month.

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

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

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

3 . ARTISTIC TEAM MANAGEMENT

INDIVIDUALS

3.1. The management of amateur art and technical creativity groups is carried out by the director of the institution.

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

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

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

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

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

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

Prepares performances of the group, ensures its active participation in festivals, reviews, competitions, concerts and mass events of the institution and the city as a whole;

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

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

3.4. Classes in creative teams are held systematically at least 3 (three) times a week for 2 academic hours (academic hour 45 minutes) with one group.

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

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

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

4. CAPACITY OF THE TEAM OF VARIOUS GENRES AND TYPES OF ACTIVITY

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

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

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

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

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

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

- pictorial and decorative-applied- at least 12 people.

- photo-video creative- at least 10 people.

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

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

5. PAYMENT OF MANAGERS

CREATIVE TEAM

5.1. Official salaries of team leaders are established in accordance with the regulation on remuneration of employees of the Establishment.

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

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

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

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

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

Tours with the team;

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

Research and expeditionary activities in the profile of the folk group;

Participation in training events (seminars, advanced training courses);

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

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

Official salaries for the leaders of circles are set for 3 hours of circle work per day, and accompanists - for 4 hours of work per day. Monthly summed accounting of working time is established for the said employees. In cases where the leaders of circles and accompanists cannot be fully loaded with work, they are paid for the established amount of work at hourly rates.

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

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

The term of the Regulation is not limited

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

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