With an amateur art group. Regulations on amateur art groups, interest clubs and creative associations of the municipal budgetary institution of culture "Palace of Culture" Energomash

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

Amateur art 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 cultural development, 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.

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 release 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):

_____________________________ ___________________________

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

As the practice of many Russian regions testifies, society is growing with new theaters, state and public museums, cultural and leisure centers, houses of national folklore and crafts, children's art schools - in a word, 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 difficult 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 "classic" 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 only 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 broadest 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 originality.

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.

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 are given out 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

Page 1

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Ministry of Culture of the Republic of TyvaGOU SPO "Kyzyl College of Arts named after A.B. Chirgal-oola» Course workSubject: Pedagogical features of the formation and development of a team of a creative amateur team of the 4th year student Chayan Grigoryevich Mongush of the department "SKD and NHT" with a specialization "Choreographic creativity" Checked by: R.M. BulugunKyzyl - 20111

CONTENT Introduction………………………………………………………………………….. 3 1.1. The concept of amateur art activities, their types and genres .............................................. ................................................. ................... 4 1.2. The development of artistic activity in the 60-80s…………………. 5 1.3. Pedagogical features of the creative team………………….. 6 Chapter 2. Self-activity as a socio-pedagogical phenomenon2.1. The specificity of an amateur association as a pedagogical system……………………………………………………………………………… 7 2.2. Forms and methods of educational work in a creative team ....... 19 2.3. Formation and development of the amateur team "Depo"………….... 23 Conclusion................................................. ................................................. ......... 29 Bibliography................................................ ............................................... 33 Application. 2

Introduction I chose the topic of the course work - " Pedagogicalfeatures and formation and development of the teamcreative amateur association”, because this topic directly relates to the professional activities of a club worker. After all, we, strawberries, work with participants in amateur performances, organizing their activities. While working on this topic, I set myself target to make an analysis of the development of amateur art activities and their forms and methods of educational work in a creative team. To do this, I have to decide tasks: Give a definition of amateur art and find out amateur choreography as a type and genre of artistic activity in Russia; Find out the development of artistic activity in Russia; Find out the meaning of amateur performance as a socio-pedagogical phenomenon; Find out the forms and methods of educational work in a creative team; Find out the development of the amateur team of Tuva. Chapter 1. Amateur art and its development 1.1.The concept of amateur performances, their types and genres 3

Amateur art has its roots in traditional folk art. Folk art is artistic folk art, folklore, artistic creative activity of the people. The views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, dreams of justice and happiness are embodied in folk art. It was the historical basis of the entire world artistic culture. Amateur art is one of the forms of folk art. It includes the creation and performance of works of art by amateurs acting collectively (circles, studios, folk theaters) or alone (singers, readers, musicians, dancers, acrobats, etc.). Various types and genres of amateur performances developed unevenly. Choral, theatrical and partly choreographic amateur performances are somewhat reduced. At the same time, there is an increase in vocal and instrumental ensembles, film and photo associations, agitation and art brigades, groups of fine and decorative arts. At the same time, only in the state cultural institutions of the country there are currently 50 thousand amateur associations and interest clubs, of which 16 thousand are of an artistic art criticism orientation. Amateur choreography is one of the leading types of amateur art, which occupied and third place participants. Approximately to the same extent, it is common, both in the city and in the countryside. Process 4

The development of amateur choreographic performance is accompanied by the appearance in the country of dozens of folk ballet theaters, staging performances of various genres. Folklore dance groups and classical dance ensembles are developing. One of the promising forms of development of choreographic amateur performances are schools and clubs of ballroom dance lovers. Such clubs can have a complex structure, including a number of creative sections (performing, art criticism, film and photo groups), as well as sections for organizing mass events (evenings of relaxation and dancing, concerts, etc.). 1.2. The development of amateur art in the 60-80sAmateur art performances of the USSR in the 60-80s Amateur art - non-professional artistic creativity of the masses in the field of fine arts and crafts, music, theatrical, choreographic and circus arts, cinema, photography, etc. In pre-revolutionary Russia, art lovers united in circles and societies at clubs and meetings. There were also workers' circles, folk theaters, which were under the strict control of the authorities, who were suspicious of any popular initiative. Amateur groups arose at clubs, houses (palaces) of culture, factories, plants, educational institutions, military units, collective farms, state farms, transport, etc.5

The work of the club amateur group is directly organized by its leader, who recruits members, plans and conducts educational and concert-performing activities. The head is obliged to conduct regular training sessions lasting at least three hours. The body of public self-government is the general meeting of participants, which elects the council of the collective. Amateur art groups that are active in communist education, have a high ideological and artistic level of repertoire and performance skills, educational and creative work, can be awarded the title of "amateur group". General leadership is carried out by the artistic director. 1.3. Pedagogical features of the creative team. In modern reality, great attention is paid to the psychology and ethics of pedagogical communication. Today, more than ever, such problems are becoming relevant. This is due to the development of a democratic society in our country, in which a person as a person comes to the fore, a person who requires attention and a benevolent attitude. Such relationships are not alien to the work of the creative team, the effectiveness of which largely depends on the pedagogical tact of the teacher. The success of the entire team depends on how correctly the leader of the team chooses his style of work. Chapter 2 2.1. The specifics of an amateur association as a pedagogicalsystems 6

Amateur activity, like any objective activity, has objective results: an innovator has his proposal for reorganizing the production process, a theater group has a performance, a propagandist has a report, etc. The obviousness of objective effectiveness makes amateur organizations look like similar production ones, which led to to the idea that amateur organizations should, in principle, be managed in the same way as similar professional ones. Supporters of such views only make allowances for some external features of amateur performances (lack of special training for participants, fatigue after the main work, etc.). An amateur organization differs from a similar industrial, professional organization in principle, as a qualitatively different system. Separate components in these systems - industrial and amateur - reveal only an external similarity; their internal characteristics turn out to be their own, but, most importantly, the connections and dependencies between the components turn out to be special. Schematically, the structure of any organization can be represented in the following main components: 1. Block of organization or management (including goals, objectives, program, managers, means of their influence on the managed object, etc.). 2. Managed object (materials, people, means of achieving goals and objectives, etc.).3. Actually activity, process, interaction (having content, form, duration).7

4. The result itself (results). Control block Managed Process activity object Result: As noted above, when considering the functions of amateur performances, it represents a predominantly pedagogical system, functionally designed to improve the individual or group of participants in amateur performances. Organization of creativity in the system of amateur performance tasks Self-employed organizations are extremely diverse. In fact, there are no two groups that are identical even within the same genre or type, for example, two identical folk theaters. They differ in the composition of the participants, the creative positions of the leaders, the environment in which they have to act, and many other conditions. Amateur organizations differ even more depending on their belonging to specific types of activity. Some collectives are art-performing, others - art-critical, author's. But after all, there are also other classes of amateur performance, besides artistic: technical, scientific, socio-political, etc.8

It is perfectly clear that the question of the tasks of the creative work of amateur collectives cannot be solved by deriving in any way general, unified tasks for all. However, it would be wrong to believe that the diversity of amateur activities gives the right to absolute discord and complete voluntarism of leaders in determining the tasks of their activities. The tasks of each team, or association, can be represented as a certain system of them, representing several interrelated levels. I. The highest, highest level of tasks are the tasks of the communist education of man. These are the most common tasks facing amateur performance as a pedagogical system. These tasks are of a general nature not only because they determine the essence of all Soviet pedagogical systems (schools, vocational schools, universities, etc.), but also because they have the nature of tasks-goals that need to be specified, translated from the strategic plan in the plan of tactical control of amateur performance. If the tasks of self-activity of others, characterized by lower levels, do not reveal a connection with higher "general" tasks, then they lead to the emergence of socially limited, ineffective activities. II. The second level consists of tasks that depend on the specifics of the content of each class of amateur phenomena. They are different, for example, among amateur associations of a socio-political or technical nature. Since each of the directions existing in Soviet amateur performance also has internal divisions (for example, in amateur art there are performing, authorial, artistic research and other subclasses), then this second 9

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

Of course, in practice it sometimes turns out that the head of an amateur collective generally poorly comprehends his own actions. Some actions (exhibition, concert) seem to be an end in themselves, not motivated by any tasks. But these are examples of unprofessional work. One of the indicators of a professional position in the leadership of amateur performances is pedagogical motivation of the planned actions, as well as pedagogical logic that combines actions into their system. The basis of such logic should be the conscious interconnection of tasks of different levels. creative as the process of forming the creative qualities of participants. The task of organizing amateur performance as a creative process, undoubtedly, belongs to the number of general tasks, and therefore can be considered as one of the main foundations of the general methodology for organizing amateur creativity of workers. The essence of creativity. Features of amateur creativity Amateur activity as a socio-historical phenomenon is a sphere of creative activity of the masses. But in each individual case, amateur phenomena turn out to be creative phenomena to a different extent.11

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

K. Marx, imposes on the world the stamp of his own original ideas. The task of developing the individual in each person from the first years of Soviet power has become important and socially significant. “Only a society that is diverse in its separate human personalities, breaking up into pronounced individuals,” wrote L. V. Lunacharsky, “represents a truly culturally rich society. The herd personality easily submits to any Bonapartism, leaderism. The herd man cannot be critical of what life presents him. We must expand the features, talents, expedient skills that a person has chosen for himself and that society has indicated to him. It has now been proven that in whatever area such personality traits as independence, critical thinking, the ability to self-orientation and self-realization are formed, they turn into a general attitude that determines the creative position of the individual in other areas. Recent studies have shown that during the period of transition from socialism to communism, creativity in the field of leisure leads to “the transformation of free time into a particularly important, decisive factor in the development of the individual, to the removal of the negative influence on the individual by non-creative types of labor with the help of free time. Here the reverse effect of free time on work can be most clearly seen. However, activity in an amateur collective does not in itself lead to the formation of a creative personality. The ability for independence, the realization of the individually unique, can be suppressed by the leader. It depends on the conscious direction of work towards solving the problem of developing creative abilities and on the leader’s ability to organize activity as a creative process, 13

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

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

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

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

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

it is possible with the display of colorful illustrations, to present the material emotionally, expressively. 2. Watching special movies, listening to music. Collective viewing brings the participants and the teacher closer together. A common topic for conversation appears, in which the teacher cleverly and tactfully guides the participants in the mainstream of correct reasoning. 3. They also bring up traditions, of which there can be many in a team: this is initiation into choreographers, and the transition from a younger group to an older one, etc. 4. The education of discipline instills the skills of organization in the labor process, brings up an active attitude towards it. The teacher in the classroom awakens respect for the common work, brings up the ability to subordinate the personal to the public. Conscious discipline is the discipline of internal organization and purposefulness. External discipline creates the prerequisites for internal self-discipline. Participants become collected, attention in the classroom is sharpened, they complete the tasks faster and more clearly. 5. Performances of performances on modern topics encourage meeting interesting people, reading modern literature, visiting museums, etc. 6. Useful joint viewing and joint discussion of concert programs, performances of both professional and amateur groups. 7. Conducting an analysis of the concert performances of the band itself. The teacher-leader is obliged to dwell on both the positive and negative aspects of the program. It is important to pay attention to each participant, taking into account his individual characteristics of character. On time 19

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

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

1. Classes organize and educate participants, expand their artistic and aesthetic horizons, accustom them to neatness, smartness, exclude laxity, licentiousness. 2. Being engaged in a team, they develop a particularly valuable quality in themselves - a sense of "elbow", a sense of responsibility for a common cause. 3. Teach participants to clearly distribute their free time, help to think through their plans in a more organized way. 4. Classes help to identify the most gifted participants who link their fate with professional art. 5. They determine the pedagogical and organizational abilities of the participants. Education should take place in such a way that the child feels like a seeker and discoverer of knowledge. Only under this condition is monotonous, tedious, hard work colored with joyful feelings. 2.3. Formation and development of the modern dance group - "DEPO" The modern dance group "Depo" was founded in 2004. The group included guys who had previously worked in other amateur dance groups. These are "Tanslima" MOUSOSH No. 2, Turan, artistic director Elena Uinuk-ool and "Time out" artistic director Dongur-ool Alena Viktorovna. Both groups constantly took part in the competitions of modern dance "Starteenager" and were rivals. In 2004, from the Tanslima group, the following entered TyvSU: Ailana Mongush, Roza Mongush, Sendazhi Shonchalai, Kara-Kys Antonina, Chingiz Syuryun, Edik Kunchui. Since, 22

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

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

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

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