By type, there are groups of folk art. Directory of folklore groups

The concept of "folk art" is broad, capacious and very heterogeneous in nature and level. It includes peasant art, handicraft art crafts, the work of artisans, and the song tradition. In Gubkinskaya territory, due to the geographical, historical and cultural situation, domestic crafts have become widespread: weaving, embroidery, crocheting, weaving from wicker and bast, leather, cooperage, and blacksmithing.

Today we see the results of a great work that began in the 80s of the last century to revive traditional culture. Bit by bit, enthusiasts and lovers of antiquity collected what had been lost during the years of partocracy and persecution of the traditions of the people. Love for folk art and traditional crafts is passed on to the younger generation by 132 craftsmen and 17 craftsmen. They teach children and teenagers the basics of carpet weaving, embroidery, knitting, wood turning, wood carving, and beading.

The imagination of the lace maker E. Bobyleva creates unique patterns from ordinary threads. The young master of the Theological House of Crafts A. Lisyutin teaches children the intricacies of woodcarving. In the Konshinsky House, masters of children take over the skills of weaving from S. Potemkin. Today the toy is fun. And in the old days, she was a talisman, protecting children from evil spirits. According to the stories of old-timers, the master of the House of Crafts from Bogoslovka, E. Zakharova, managed to restore the technology for making a rag doll-spin.

Over the past few years, it has become traditional to hold a regional creative review-competition of masters of folk arts and crafts "Living Rus'". It is held to promote the best examples of folk applied art, support for masters of arts and crafts. So that people could get to know the original craftsmen better, the Belgorod Museum of Folk Art organized an exhibition of the traditional culture of the Gubkinsky district, where visitors got acquainted with such crafts as carpet weaving, weaving on reeds, wood painting. The skills of decorative woodworking have been preserved to this day through the efforts of craftsmen from Istobny, Konshino, Bogoslovka, Sergeevka.

Exploring the richest spiritual heritage, the revival and promotion of traditional folk culture leave a fertile mark in the hearts of children, youth, all residents of the Gubkinsky territory, give us the opportunity to touch the true art, to preserve the spirit of folk traditions.

At the beginning of the eighties of the 20th century, historical roots folklore ensemble "Resurrection", children's folklore ensemble "Ladushki", clubs "Zateynik" and "Slavic Travnitsa", the museum "Living Antiquity". They form the basis of the traditional folk culture of the Gubkinskaya territory.

Folklore ensemble "Resurrection" is doing a lot of research work to study and preserve the unique song style of our region, which, tirelessly resurrecting beautiful examples of folk songs, gives them a new life on the concert stage. The ensemble draws material for work from expeditions to the villages of the Belgorod region. Each member of the ensemble works with folk song performers. More than 1,400 old songs have been deciphered, unique research materials have been collected on the villages of the Gubkinsky district: Prisynki, Teply Kolodez, Melavoe, etc. Expeditions help to make new records of traditions, rituals, and songwriting. It is valuable that all the material is actively used during seminars on the revival of traditional culture, in the repertoire of the folklore ensemble "Resurrection" and the children's folklore ensemble "Ladushki". Creativity "Resurrection" is known far beyond the region. The ensemble is twice a laureate of the All-Russian television and radio competition "Voices of Russia". He was awarded the first prize at the International Competition "Krasnaya Gorka" (Bryansk).

The "Zateynik" club has been created for children and teenagers, where they get acquainted with calendar and ritual holidays, learn old folk games, carols, schedrovkas, stoneflies, incantations.

In order to revive and support traditional culture, as part of the celebration of the Days of Slavic Literature and Culture, children's festival folk art "May Karagod", which contributes to the development of folk performing skills, the identification of new folklore groups.

For many centuries, song ethno-cultural ties and traditions have historically developed on the Gubkinskaya territory. Today, the song tradition is represented by 23 folklore and ethnographic groups, including 11 children's groups. Their activities are based on the revival and promotion of song folklore, original dances, and oral folk art. There is a life-giving spring of primordial old songs in the village of Chuyevo, where the song heritage is preserved and passed on to the younger generation by members of the folklore-ethnographic group Posidelki. Members of the folklore ensemble "Rodnik" of the Theological House of Culture restored bit by bit the old wedding ceremony. And now, in the Gubkinskaya territory, it is gradually becoming a tradition to hold modern weddings in the old way.

The choir "Russian Song" appeared on the basis of the Palace of Culture "Builder" - in February 1986, at the origins of its creation were the leader Valentina Grigorova and concertmaster Ivan Chentsov. Soon enough, a stable team of 27 people was formed, hallmarks whose purposefulness, the desire to master the heights vocal art, and the fruits of labor were not long in coming. Letters of thanks, certificates of honor and diplomas of territorial, regional, regional competitions and festivals, and the most long-awaited title of "folk", awarded to the choir in 1990.

A friendly choral family united not only professionals, but also just lovers of folk songs, and different ages: the oldest participant is about 80 years old, the youngest is a little over 20.

Team Leader B.C. Grigorova considers the main task not only to preserve folk traditions, but also to instill a love for Russian song in the younger generation. How not to be proud of our soloists. Valentina Besedina, for example, always makes surprisingly interesting undertones and is fluent in rattles and spoons. The real adornment of the performed works is the tambourine, which in the hands of Lidia Sirotkina sounds especially loud and cheerful.

In 1986, the choir of the House of Culture "Builder" "Russian Song" was created. "For 20 years of concert activity, the choir has traveled around many cities and regions. Memory, like a photographic film, keeps the most vivid impressions," says Sergey Shchuplov, concertmaster of the Russian Song choir. There have been funny cases more than once, but mutual assistance has always saved. no one works in the choir, because everyone feels responsible to the audience, and the choir's repertoire requires a serious attitude. These are not only songs from our region and various regions of Russia, which allow some improvisation, but also works borrowed from the repertoire of professional groups of the Voronezh Russian Folk and Kuban Cossack Choirs.

For more than 20 years, the work of the academic folk choir Veterans of the Great Patriotic War "Living Memory", headed by Honored Worker of Culture N.N. Novik. Natalya Nikolaevna has a special musical education, and the success of the choir is ensured precisely by the happy combination of the professionalism of its leader and the love for choral singing of the choir members.

Ensembles of folk art are organized in club institutions. But stronger and more interesting are the connections of talented people who found each other at the holidays. Director of the city park of culture and recreation V.G. Gdadkikh, by the nature of her official activity and at the behest of her heart, held annual holidays beloved by the townspeople " Golden autumn". Here is what she observed: "The traditional folk festival "Golden Autumn" turned into a big folklore holiday. And improvised performances made it so (5 harmonists and balalaika players who came to the competition "Play, accordion"). Mischievous, funny ditties were composed for the golden autumn holiday by an employee of the mountain rescue team B.V. Abakumov:

"You play, play, harmonica!

Have fun, honest people,

If the legs get tired

Let's go home on our hands!"

But that an impromptu competition would arise, no one could even imagine. An employee of NIIKMA N.F. read his poems. Iovlev. Pensioner N.Ya. The guard also read his poems about his native Gubkin. And the conceived competition of accordion players turned into a real folklore holiday.

We are on an autumn holiday -

Have fun playing, accordion!

We will lure you with our singing.

IN heart on fire!

The folklore ensemble of the JBI-2 plant began its performance with fervent, crafty ditties of its own composition. Elegant costumes, sonorous voices - could not but cause applause and smiles from the audience.

And here in front of the public is a folklore ensemble that arrived for the holiday from the Sergeevskoye pilot production facility. His speech was, as they say, the highlight of the program. In bright sundresses, with balalaikas, the members of the ensemble came out. They sang beautifully Russian folk songs "Meadow duck" and "Give me a balalaika". And the ditties of the Zavolokin brothers were scattered over the entire district by M.A. Ovsyannikov.

The holiday introduced, the holiday made friends ... This is what makes it even more attractive for all its participants. The current "Golden Autumn" introduced, made friends the spouses of retired Arkhipovs and the slinger of the KMAelektromontazh department A.F. Matsyna. It turned out to be a wonderful trio: Tatyana Prokhorovna plays the tambourine, Mikhail Fedorovich plays the balalaika, and Alexander Fedorovich is the accordion player. Often such meetings ended in long-term friendship and joint creativity.

Folk art will be preserved in the families of lovers and admirers of antiquity, traditional folk culture. The people love original ditties, balalaika players, harmonists, wailers at funerals (they don’t scream at weddings anymore, these traditions are gone). So, the Vlasov family-ensemble of folk song lovers is known in Gubkin. Grandmother, daughter, daughter-in-law, son and little granddaughter delighted the townspeople at city holidays.

Thus, folklore and song creativity is a living spring folk soul. In the Gubkinskaya territory, folk groups received a permanent residence permit and a green street.

MUNICIPAL AUTONOMOUS EDUCATIONAL INSTITUTION OF ADDITIONAL EDUCATION

"CHILDREN'S SCHOOL OF ARTS. E.V. EXAMPLE"

city ​​of Salekhard

COLLECTIVE: CLASSIFICATION OF COLLECTIVES OF FOLK ARTISTIC CREATIVITY

Methodical development

Predeina E.G.

teacher of choreographic disciplines

Salekhard, 2017

Content

Introduction ………………………………………………………………………….3

Chapter I …………………………………..6

1.1 The concept of a collective of folk art…………....6

1.2 The main tasks and organization of the activities of groups of artistic folk art……………………………………….7

1.3 The problem of classifying teams……………………………………….16

1.4 The content of activities in the team……………………………………....19

………………………………………………………………23

2.1 The concept of a folk, exemplary group of folk art and general provisions………………………………………..24

2.2 Conditions and procedure for conferring the title of "People's Collective"; the procedure for confirming and the procedure for withdrawing the title………………………………...25

2.3 Standards for the activities of the People's Collective; Rights and obligations of the folk collective…………………………………………………..30

2.4 Leadership of the People's Collective. States of the People's Collective. Remuneration of specialists……………………………………………….33

Conclusion ……………………………………………………………………...36

Bibliography …………………………………………............................38

Annex 1 …………………………………………………………………...40

Introduction

Among actual problems theory and methodology of amateur performances, the problems of the essence of the collective, as a qualitatively independent and specific phenomenon of leisure, are of paramount importance. After all, in the end, no matter what aspect of training, education and development of participants by means of art and folk art, they are all directly related to the team, the features of the organization of its activities.

The collective of folk art is the basis for the accumulation of social experience by students. Only in the team its development is planned and directed by professional teachers.The processes of development of the individual and the team are inextricably linked with each other. Personal development depends on the development of the team, the structure of business and interpersonal relations that have developed in it. On the other hand, the activity of pupils, the level of their physical and mental development, their capabilities and abilities determine the educational strength and impact of the team.

Object of study is folk art.

Subject of study is a collective of folk art, a classification of collectives.

aim work is the consideration of the collective of folk art as a pedagogical phenomenon.

Work tasks :

Consider the concept of a collective of folk art;

Consider the organization of the activities of groups of folk art;

Determine the grounds for the classification of teams;

Show basic options"folk group".

The research process involves the use of various approaches and the application of existing information on research issues. The textbooks of V. A. Slastenin and I. F. Kharlamov became the theoretical basis for the main pedagogical issues.

V. S. Tsukerman was interested in the problems of the collective. In his manual "Folk Artistic Culture under Socialism," he examines the characteristics of an amateur art group, defines its essence, and classifies groups according to various criteria.

A. S. Kargin, Yu. E. Sokolovsky, A. M. Asabin, G. F. Bogdanov were engaged in purposeful study of various processes in the team. It is natural to turn to the works of A. S. Makarenko, who was closely involved in the theory of the collective.

The second chapter of the work was created on the basis of an analysis of the Regulations on the "people's" amateur collective of the Chelyabinsk and Sverdlovsk regions.

The study was not without reference to encyclopedic sources: in particular, the Pedagogical Encyclopedic Dictionary, editor-in-chief B. M. Bim - Bad.

The work consists of an introduction, two chapters, a conclusion, a list of references and an appendix.

Chapter I examines in detail the concept of the collective of folk art, its essence, features and tasks.

Chapter II discusses the concept of a folk, exemplary group of folk art and general provisions; conditions and procedure for conferring the title of "People's Collective"; standards for the activities of the People's Collective; the procedure for confirming the title "People's Collective" and the procedure for removing the title "People's Collective"; the rights and obligations of the people's collective.

The appendix contains an exemplary application for the assignment / confirmation of the title of "folk", "exemplary" group of folk art.

Chapter I . Collective of folk art as a socio-pedagogical phenomenon

1. The concept of a collective of folk art

In order to understand the role of the amateur art group, it is necessary first of all to clarify its essence. Knowledge of the concept of an amateur art group is also important in order to properly plan its work, increase its effectiveness in the education and development of participants and spectators, and develop pedagogical and artistic principles for organizing and managing its activities.

Undercollective of folk art is understood as a permanent, without the rights of a legal entity, voluntary association of lovers and performers of musical, choral, vocal, choreographic, theatrical, visual, arts and crafts, circus, film, photo, video art, based on the commonality of artistic interests and joint educational - creative activity of participants, contributing to the development of the talents of its participants, the development and creation of cultural and technical values ​​by them in their free time from their main work and study.

The types of teams are:

Union - a form of creative activity in additional education, which aims to develop abilities, satisfy the creative interests of participants, organize leisure and recreation. Organized on the principles of voluntariness and self-government;

Studio - an amateur club team with a predominance of educational and creative classes in the content of the work;

circle - an amateur club group (as a rule, for the acquisition of certain skills - knitting, embroidery, singing, etc.), which is characterized by a small number of participants, the absence of preparatory groups, studios, etc.

Among the mainsigns that characterize the team can be called:

One of the main goals of the existence of the team is the opportunity to express themselves, to show their activity, initiative, independence, as well as the opportunity to assert themselves in the team;

The presence of socially significant goals, their consistent development as a condition and mechanism for constant movement forward;

The systematic inclusion of pupils in a variety of social activities and the corresponding organization of joint activities;

Systematic practical connection of the team with society;

The presence of positive traditions and exciting prospects;

Developed criticism and self-criticism, conscious discipline, etc.

The collective of folk art is multifunctional. The following mainteam functions :

Organizational - the team becomes the subject of management their socially useful activities;

Educational - the collective becomes the bearer and propagandist of certain ideological and moral convictions;

Incentives - the collective contributes to the formation of incentives for creative activity, regulates the behavior of its members, their relationships;

Educational - in the team there is a comprehensive and harmonious development of the individual by means of art, etc.

1. The main tasks and organization of the activities of groups of folk art

One of the main tasks of the folk art team is to introduce the team members to the artistic traditions of their people, to the national culture, world art values ​​on the basis of their creative development and propaganda in the audience. The team also contributes to: the involvement of the population in cultural traditions peoples of the Russian Federation, the best examples of domestic and world culture;organization of leisure of the population.

In the collective of folk art there is a harmonious development of personality, the formation of moral qualities and aesthetic tastes. Members of an amateur group acquire knowledge, skills and abilities in various types of artistic creativity, get the opportunity to develop their creative abilities in a particular area.

The collective creates conditions for active participation in cultural life and creative activity of socially unprotected segments of the population. Including conditions for the cultural rehabilitation of disabled children and the socialization of children from a socially disadvantaged environment through creative activities.

Collectives of folk art by their activities contribute to the popularization of the creativity of professional and amateur authors who have created works that have received public recognition.

In general, the activities of amateur groups help the further development of folk art, contribute to the wide involvement in the participation in the work of various social groups of the population.

A necessary condition for the functioning of the team is its organization. With all the differences in the collectives of different institutions and departments, with all the variety of types of collectives, they are all characterized by some common features of the organizational structure that distinguish them from a number of other associations. These traits include:

1. The presence of a leader who combines in his person two main characteristics: a specialist in one of the types of art and a teacher who organizes the work of the team, manages its life, directs the process of upbringing, education and development of team members.

2. The presence of a headman or an asset, consisting of the most authoritative and initiative participants, contributing to the creation of a creative atmosphere in the team, exercising self-government in it, responsible for certain specific events.

The collective of folk art is created, reorganized and liquidated by the decision of the head of the cultural and leisure institution. The team is provided with a room for conducting classes, it is provided with the necessary material and technical base.

Collectives can carry out their activities at the expense of consolidated budget financing and extra-budgetary funds received from their own activities, the provision of paid services, the funds of team members, including membership fees, earmarked income from individuals and legal entities allocated for the development of the team, as well as voluntary donations.

The terms of membership in the team are determined by its Regulations. The amount of the membership fee (if any) is annually established by the order of the head of the base institution on the basis of the cost estimate of the collective.

Classes in groups are held systematically for at least 3 study hours per week (a study hour is 45 minutes).

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

For the successes achieved in various genres of creativity, teams can be presented with the title of "folk, exemplary team of folk art."

Leaders and best members teams leading a fruitful creative activity can be presented in accordance with the established procedure for awarding all forms of encouragement accepted and operating in the industry.

Any team can exist only when it develops, relentlessly moving towards a common goal. The specificity of NHT collectives lies in the fact that its members and employees of cultural and leisure institutions themselves choose the long-term goals and current tasks of the collective, and determine the ways to solve these problems themselves. Here comes to the aid of the theory and practice of general pedagogy, which has scientifically substantiated the conditions and laws of the development of the team.

Back in the early twentieth century, the famous Soviet teacher A.S. Makarenko formulated the laws of movement (development) of the collective, which are quite modern today and acceptable for collectives of folk art.

1 law. The presence of a large socially significant goal.

The purpose for which the team is created is of great importance for all its further work. Of great importance is what people have gathered in a team for, what are their interests and aspirations, what is the cultural value of their hobbies, since the interests themselves have different social significance, different social potential is also inherent in the activities that develop on the basis of these interests.

In this case, the scale of the activity is also of great importance. Is the work of the collective closed in on itself, or is its work oriented towards going beyond its limits, into turning its activities into an important social cause? In the second case, there is a very educationally productive combination of pleasure from doing what you love with the moral satisfaction of a person who benefits people.

2 law. The right combination of public and personal aspirations and interests.

A person comes to an amateur team, realizing that here he will have the conditions for a more productive occupation of his favorite business than alone. But in the collective, in addition to individual interests, general collective interests also arise. The goal of the team is not a simple sum of personal goals. Individual desires enter it in an altered form.

To achieve a collective goal, such coordination of the efforts of people is required, which in a certain way limits the freedom of action of an individual. This is the objective basis of the contradictions between the personal and the public. The way out of this contradiction is the understanding that personal success is connected with the success of the whole team. Collective victory brings people no less, and sometimes more satisfaction.

It is impossible to achieve an absolute coincidence of personal and public interests, it is necessary to be able to coordinate them correctly. The need for coordination of interests often arises when developing a program of activities for a long time or when distributing roles and responsibilities.

Conflicts arise, the causes of which may be: inaccurate representation of the participants of an amateur collective about their own capabilities; sometimes the team needs its member to do the wrong job that he likes more; misunderstood the interests of the team (a person is assigned the same role, with which he copes well); egocentrism, selfishness of individual members of the team.

It is impossible to give a universal recipe for resolving these contradictions. The choice of the appropriate method of educational influence and conflict resolution is determined by: the degree of maturity of the amateur team; level of valid creative possibilities participants; the prestige of the leader and the authority of public opinion; individual mental characteristics of an amateur; the degree of urgency of the work performed by the team, etc. Methods can be different: clarification and persuasion; manager's requirement pressure of public opinion; exception.

3 law. Availability of a system of perspective lines.

In addition to general goals, the team must have specific tasks, the solution of which is the real content of its movement (development). Such a set of coordinated mutually subordinate and regularly distributed in time goals and objectives is calledperspective lines .

1. Near perspective.

Immediate goals, easily achievable tasks. Their realization is possible by ordinary efforts and is within the limits of today's possibilities of amateur performance participants. [5, 216]

It is important to properly organize it in the early stages of the existence of the team, when immediate interest prevails and the long-term perspective is not clearly seen. For example, the head of the choir, learning a song at the request of most of the participants in the first lessons or organizing a concert attendance, begins work on uniting the team from this kind of perspective.

A skillful combination of theoretical and practical classes, special training exercises and executive and creative activities is necessary. The short-term perspective retains its significance at subsequent stages of the development of the collective, but its significance is different. If at the beginning of the work it is the only stimulus, then later its connection with the medium and long-term perspectives and subordination to them is realized. To fill close prospects with social content associated with joy, satisfaction from general labor stresses in the interests of the team - this task constantly confronts the leader.

2. Medium perspective.

This is a goal or event that is somewhat delayed in time, requires significant effort, and has greater significance. It breaks up into a number of small, successively changing perspectives, stages, associated with going out “to the people” - a concert, performance, exhibition, participation in a review, etc. The middle perspective line should not end here, it is an important stage, but not the final step along the creative path of the team. The short and medium perspectives are quite concrete.

3. Far perspective.

It is necessary for the normal development of the team, all the activities of the circle, studio, folk team are aimed at achieving it. Its structure is multifaceted, it reflects the ideas of the team:

About the level of skill to be achieved;

About the place that the collective should take among other amateur collectives;

About the public purpose of the collective in the life of its cultural institution, district, city.

The long-term perspective embodies the limit of today's interests and cannot be clearly specified. But due to its significance and attractiveness, it becomes a powerful mobilizing tool.

The pedagogical meaning of perspective lines lies in their simultaneous existence and awareness of the immediate, intermediate and distant goals. Each result, step is perceived not by itself, but as a necessary stage on the way to significant achievements. And at the same time, distant prospects are becoming more realistic. All this contributes to the normal development of the team of amateur creativity.

4 law. Formation of public opinion, development of traditions of the folk art team.

Public opinion plays an important role in the development and formation of both the team and the individual. In an artistic group, public opinion is a kind of supreme authority. It governs the whole inner life of the collective. And persuasion, and censure, and encouragement always comes on behalf of and through public opinion. Public opinion, integrating the judgments of interested and well-informed people, is usually competent and objective.

Public opinion is an authority, a model for following an example, a standard of correctness, something high. The sanctions resorted to by members of the communities (collective) support and reinforce this high position of public opinion. As an authority and model, public opinion orients the individual so that he does not end up among the “outcasts” who oppose themselves to society.

On the other hand, public opinion is a tool for putting pressure on individual members of the team, groups of participants who show self-will and willfulness. It determines what wrong deeds should be sanctioned by the majority of members of communities, organizations.

The criteria of public opinion have significant stability. They are less subject to fluctuations than the moods, feelings and judgments of an individual. On the formation of public opinion, great attention is paid to the assessment of the head, assessment by the public. Evaluation is the highest management tool. Any actions of individuals or microgroups, intermediate results and overall results should be evaluated from the standpoint of their significance for the team as a whole.

A huge role for the development of the team is the presence of traditions in it.Tradition - not any recurring elements in the life of the team, but only those that characterize them as special teams, not like others. A.S. Makarenko wrote: "Tradition adorns the collective, it creates for the collective that external frame in which one can live beautifully and which therefore captivates." The ability to find a beautiful, ideologically and emotionally capacious tradition lies in the skill of the head of the NHT team.

It is necessary to form traditions in the early stages of the development of the team. Joint visits to concerts, exhibitions, excursions, walks in nature allow you to build comradely relationships in an artistic group and are valuable for personal development. There are several types of traditions.

1. Traditions associated with intra-collective activities. These include, for example, the beginning of rehearsal classes with a certain chant, actions; original forms of holding the first meeting in the new season and the last meeting in the academic year; the ritual of accepting newcomers to the team, which includes recommendations, the presentation of independently completed work, a comic quality check, solemn promises, the presentation of a membership card, a written mandate, etc.

2. Traditions associated with the creative activity of the team. These can be traditional meetings with cultural and art figures, professional artists; annual concerts for veterans, children from orphanages, meetings with similar groups from other cultural institutions, cities, countries.

3. Traditions associated with the repertoire. The inclusion of works of the same author in the repertoire of the folk art group (for example, systematically include plays by A.N. Ostrovsky in the repertoire of the theater group), the tradition of starting or ending the concert with the same song, etc.

The assertion of traditions is associated with the development of paraphernalia, which is a kind of symbolization of the content with the help of external expression. These include badges and the emblem of the team, the motto, the traditional form of announcements about the next classes, meetings, rehearsals, some symbolic items, talismans.

Traditions are more easily perceived and approved when the participants of amateur performances know the history of the emergence and development of the team. Each participant should be aware of the milestones of the organizational and creative path of his team. They do the right thing where they keep a chronicle of their lives, collect and store material relics, posters, programs, and even organize small museums.

1.3. The problem of group classification

When trying to classify folk art groups, certain difficulties arise. But it is necessary to do this, since not only the final result of creativity in the team and ways of demonstrating the results depend on this, but also the nature of the classes, the educational and training process is peculiar, specific forms take contact with the public.

It is possible to classify groups distinguished by the following features:

By departmental affiliation (collectives of state institutions, military units, etc.),

According to socio-professional characteristics (working, student, school),

By demographic features (children, teenagers, youth; female choir, male choir, etc.);

Duration and periodicity of existence (temporary, permanent, etc.).

It is more difficult to create a classification of collectives based on deeper characteristics than socio-demographic characteristics.

V. S. Tsukerman proposes the following structure scheme, based on varioustypes of teams and their level of development :

1. Collectives of primary art.

Circles focused primarily on educational purposes. Participants are engaged mainly "for themselves", the results of the activities are exhibited to a narrow circle of people.

Collectives of the second stage, which accept people who have a certain artistic and creative experience and possess, if not talents, then at least the makings of artistic talent.

Folk groups that combine artistic, creative and studio activities, that is, a systematic and fairly serious study of the history, theory and technology of the chosen art form. They are partially represented by semi-professionals, that is, people who have received a general art education, but work in a different specialty.

2. Collectives of secondary art.

Circles with a weakly expressed artistic beginning are something transitional from an informal group to joint holding leisure to the artistic group.

An association of individuals for joint artistic activities that do not have the status of a formal group. Relatively regularly, not without obligatory attendance, people gather to sing, dance, read poetry, etc.

Collectives of the first stage or circles that bring together participants who solve relatively simple artistic problems and perform in front of a narrow circle of spectators (schools, military units, institutions, etc.)

Teams of the second stage, consisting of relatively trained and seriously interested in art participants who get acquainted with the basics of the history and theory of art, perform in front of a wide range of spectators, participate in reviews and competitions.

Collectives of the highest type, which, as a rule, are marked by honorary titles of the people. These are amateur theaters, folk orchestras and choirs, song and dance ensembles, etc. In them, the participants master a complex repertoire, through systematic classes they acquire knowledge and skills in their chosen art form. It acquires a different character organizational structure such teams. They are often subdivided into groups (junior, senior, beginner group, main staff), divided into several primary groups, each of which is led by a special teacher, and the general leadership is carried out by an artistic director. Folk groups perform on a regional, all-Russian scale, present their art abroad. Such groups are methodological centers for amateur art circles.

Studios as a unique form of connecting amateur performances with the system of art education.

This classification is used in sociology.

For work in scientific and methodological centers, the classification is usedteams by genre of creativity orby territorial affiliation collective (Example of such classifications in Appendix 2). Classification by genre is also used when awarding the title of "folk" group, and according to this classification, the standards of its activity are determined. Therefore, it is advisable to bring to workclassification of groups by genre of creativity:

Collectivestheater arts: dramatic, musical and dramatic, puppet theaters, young spectator theaters, theaters of small forms - theaters of variety, poetry, miniatures, pantomime, etc.

Collectivesmusical art: choirs, vocal ensembles, folk song ensembles, song and dance ensembles, folk instrument orchestras, pop and brass bands, vocal and instrumental ensembles, performing musicians, singers.

Collectiveschoreographic art: folk, classical, pop, sports, modern, ethnographic and ballroom dances.

Collectivescircus arts: circus studios, performers of the original genre.

Collectivesfine and decorative arts.

Collectivesphoto, film, video art.

1.4. The content of activities in the team

The content of the activity largely depends on the genre of the amateur group. Many types of work carried out in a team will have their own specifics depending on the type of creativity.

It is advisable to divide all creative and production activities into several blocks, such as organizational and methodological work, educational work, extracurricular work, concert activities.

All organizational and methodological work in all teams is approximately the same: recruitment or additional admission of participants to the team; selection of a new asset, preparation of asset reports on the work done; study of the needs, requests of the population; measures to create a creative atmosphere in teams; conscientious fulfillment of instructions by the participants, education careful attitude to the property of the institution; holding at least once a quarter and at the end of the year a general meeting of team members with summing up the results of creative work; accumulation teaching materials, as well as materials reflecting the history of the development of the team (plans, diaries, reports, albums, sketches, layouts, programs, posters, advertisements, booklets, photos, films, video materials, etc.). This work is based on general provisions and is carried out in one way or another in any amateur collective. But the organization and form of conducting systematic classes characteristic of a given team (rehearsal, lecture, lesson, training, etc.) will depend on the genre of creativity.

Acquires specificityeducational and creative work, which includes the training, education and upbringing of the participants. If training is ultimately focused on ensuring that participants acquire theoretical knowledge and practical skills in working with works of art and their performance, then education is aimed at expanding their horizons in the field of culture and art, public life in general, and upbringing is at the formation of a worldview, moral, aesthetic and physical qualities of the participants.

Teaching and educational work in collectives is determined by plans and programs and should include in all collectives: familiarization with the history of arts, the processes taking place in amateur folk art, the development trends of its individual types and genres; discussion of issues of repertoire formation. Team members visit museums, exhibitions, theaters, concerts, etc. for educational and informational purposes.

Also, in all groups, staging (choreographer, director, conductor) and rehearsal work (working out staged numbers, performances, sketches, compositions, musical works, etc.) is carried out.

Features of working in teamstheatrical art consist of the following specific "subjects":
classes in acting, speech technique and artistic word, 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.

In teams musical art take place: classes in the study of musical literacy, solfeggio, history and theory of music, choral art, voice training; learning pieces for the choir with and without accompaniment, learning pieces with soloists and ensembles; learning the parts of ensembles, choirs, conducting general rehearsals, classical and characteristic training; on learning solo, group dances, choreographic miniatures; learning to play musical instruments; familiarization with the initial principles of instrumentation for musical ensembles, conducting orchestral lessons on learning parts.

In teams choreographic art: classes on the study of the history and theory of choreography; classical and characteristic exercise; learning solo and group dances, choreographic miniatures, compositions, dance suites, plot productions.

In teams circus arts: 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.

In teams fine and decorative arts: classes in the study of the history of fine and decorative arts; technique and technology of painting, graphics, sculpture and applied arts - carving, embossing, inlay, artistic embroidery, beadwork, etc.; compositions; performance of tasks of an artistic and design nature; organization of exhibitions, work in the open air.

In teams photo, film, video art : classes in the study of the history of cinema and photography; material part; film, video and photography techniques; directing, cinematography, screenwriting; organizing screenings, analysis and discussions of amateur films and photographs; according to the method of organizing photo exhibitions, watching movies and videos, performing design work (with amateur photographers); making films on various topics.

In any groups, regardless of genre, there isextracurricular work which consists in visiting cultural and art institutions (viewing concerts, performances, exhibitions); in meetings with cultural and art figures, professional artists, dancers, musicians, professional and amateur creative teams, etc.; in holding events within the team (celebrating the birthdays of the participants, the team, meeting the New Year, dedication of newcomers to the team members, etc.).

And, of course, for any team is requiredconcert activity : concerts at the level of a cultural institution, district, city, region; tour activity; participation in competitions, festivals, championships.

Chapter II. Folk, exemplary group of folk art

The registration of collectives with the title of "folk" ("exemplary") in the Chelyabinsk region is carried out by the Regional Center for Folk Art. The Center also monitors the activities of the collectives, collects materials and documents for sending to Moscow and conferring the title of Honored Collective of the Russian Federation on the collectives.

In the post-perestroika years, the problems of collectives were practically not dealt with. Only in 1998 was the department renewed, which searched for surviving groups, systematized them by genre and territory. The department was headed by Nadezhda Ivanovna Novikova, who has been in charge to this day. At the moment, the center already has a specialist in each genre of creativity, who searches for teams, monitors their activities, and nominates candidates for the title of “folk” team. At first, the department faced many problems. In particular, over the past years, many teams have been awarded the title, but documented given fact was not fixed, the diploma was not issued to the team. Therefore, there were difficulties with the search for such teams, the execution of documents for them.

At the moment, these problems have been resolved, a clear count of teams is being conducted, and the list is updated annually. As of January 1, 2008, there are 392 collectives in the Chelyabinsk region that have been awarded the title of "people's" ("exemplary"). Soviet time 161. The most long-term groups in the Chelyabinsk region are the vocal group "Kamerton" of the city of Miass, which arose in 1952 (headed by Elena Viktorovna Mikhailova), and the theater of the young spectator "Labyrinth" founded in 1956 in the Kizilsky district (headed by Tretiak German Yuryevich). Last year, the Russian song choir of the Polet recreation center of the city of Chelyabinsk celebrated its 50th anniversary under the direction of Elena Yuryevna Yegorova.

According to the statistics of the center, nowadays more teams receive the title. In 2007 alone, 75 titles were awarded. According to N. I. Novikova, this is due to the fact that in Soviet times one person in the club could do singing, dancing, and needlework. And now they gave rates, qualified specialists in each area appear, which increases the efficiency of work and the quality of the result. For the first time, the list of positions for workers of folk amateur groups was approved in 1978.

On March 25, 2008, for the first time in the practice of the Regional Center for Folk Art, groups that already have the title of "folk" were awarded the title of Honored Collective of Folk Art of the Chelyabinsk Region. This title was received by 21 teams. The right to confer the Title is given to groups engaged in amateur artistic creativity for at least 15 years from the date they were awarded the title of "People's" team, participants in international competitions and laureates of all-Russian and regional competitions (at least two in the last 5 years).

2.1. The concept of a folk, exemplary group of folk art and general provisions

Folk, exemplary group of amateur art (hereinafter referred to as the People's Collective) is a permanent voluntary association of people based on common interests, requests and needs for amateur artistic creativity in joint creative activities that contribute to the development of the talents of its members and their achievement of high artistic results, cultural services and aesthetic education population.

The performing and staging capabilities of the People's Collective, its creative and touring activities are a model for all amateur art groups.

Adult groups are awarded the title of "folk group of amateur art." Children's groups are awarded the title of "exemplary group of amateur art". Collectives of fine and arts and crafts, cinema, video and photography are awarded the title of "folk amateur studio".

The assignment and confirmation of the titles "folk group of amateur art", "exemplary group of amateur art" and "folk amateur studio" is carried out by the Ministry of Culture of a particular region. preparatory organizational and creative methodical work the assignment and confirmation of the title "People's Collective" is carried out by the regional state institution of culture, for example, the state regional Palace of Folk Art.

Assignment and confirmation of the title "People's Collective" for teams working on the basis of municipal cultural institutions is carried out at the expense of the regional budget. And the assignment and confirmation of the title of "People's Collective" for teams working on the basis of cultural institutions of other forms of ownership is carried out on a paid basis in accordance with an agreement with the state regional organization of folk art. The cost of the contract includes payment for work, travel expenses of jury members, payroll and other organizational expenses.

2.2. Conditions and procedure for conferring the title "People's Collective" procedure for confirmation and procedure for withdrawing the title

The title of "People's Collective" is awarded to creative teams that:

Work stably for at least 5 years from the moment of creation;

They have a high artistic level of performing skills, are distinguished by originality and originality;

Form and replenish the repertoire with the best works of domestic and foreign art that meet the criteria of artistry;

They conduct regular rehearsal and touring and concert activities, constantly take part in cultural events of various levels and directions, actively promote their genre of art;

Are the winners of regional, regional, all-Russian, international competitions, reviews, festivals, the founders of which are government authorities, institutions, organizations;

They have a satellite team that ensures the continuity of generations of participants. For adult groups, this is a children's group where they receive creative skills, for children's groups, this is a group in which newly accepted members are trained.

The nomination of groups working in regional state institutions (organizations) of culture for the title of "People's Collective" is carried out by the heads of regional state institutions (organizations) of culture.

The nomination of collectives working on the basis of institutions (organizations) of culture of municipal and other forms of ownership for the title of "People's Collective" is carried out by the municipal bodies of culture management.

The heads of regional state institutions (organizations) of culture and municipal cultural management bodies provide the following documents to the state regional (regional) organization of folk art for a team claiming the title of "People's Collective":

A petition addressed to the chairman of the attestation commission of the Ministry of Culture of the region (region) for conferring the title of "people's, exemplary" on the collective, in which the obligation to financially support the activities of the collective must be confirmed;

Petition of the head of the institution (organization), on the basis of which the team works, addressed to the head of the municipal cultural management body;

Creative characteristic for the team, certified by the seal and signature of the head of the base institution (organization);

Statistical performance indicators of the team in accordance with the standards, certified by the seal and signature of the head of the base institution (organization);

Creative characteristics for full-time team leaders, certified by the seal and signature of the head of the base institution (organization);

List of team members in the form: full name, year of birth, place of work (study), how many years (months) he has been working in the team, certified by the seal and signature of the head of the base institution (organization);

The repertoire of the team for the last 3 years, certified by the seal and signature of the head of the base institution (organization);

Creative description of the satellite team, its repertoire (or training program) and the list of participants, certified by the seal and signature of the head of the base institution (organization);

A viewing program lasting at least 40 minutes, certified by the head of the team;

Copies of documents proving that the leaders of the team have taken advanced training measures over the past 5 years;

Copies of award documents of the team for the last 5 years (diplomas, diplomas of regional, regional, all-Russian, international festivals, competitions, reviews, the founders of which are government agencies(organizations, governing bodies);

Application in accordance with the attached form (Appendix 1);

DVD, CD-ROM or video cassette with a recording of the group's creative program.

On the basis of the submitted documents, the state regional organization of folk art creates a viewing commission, which includes specialists of the corresponding genre or area of ​​activity;

Viewing is carried out in 2 stages:

Stage 1 - viewing video materials. Based on the results of stage 1, one of the following decisions is made:

to recommend the team for the assignment (confirmation) of the title "People's team", to view the creative program of the team with a visit to the place. Coordinate the form and terms of viewing with the head of the municipal culture management body (the plan for the field work of the viewing commission for the coming month is formed before the 10th day of the current month);

Stage 2 - viewing the creative program of the team with a visit to the place.

Based on the results of viewing the team, a protocol of the viewing commission is drawn up, which is submitted to the attestation commission of the Ministry of Culture of the region (region) along with the documents before the 10th day of the month following the viewing.

The decision to award the title of "People's Collective" is made by the attestation commission of the Ministry of Culture of the region (region). The decision of the attestation commission is drawn up by order of the Minister of Culture of the region (region).

The team awarded the title of "People's Collective" is awarded a Certificate confirming this title.

The order of the Minister of Culture of the region (region) on conferring the title of "People's Collective" on the team, the Certificate, a copy of the protocol of the viewing commission are sent to the municipal culture management body.

The procedure for confirmation and the procedure for removing the title of "People's Collective".

Title "People's team"confirmed Once every 3 years by a stable working team. The procedure for confirming the title of "People's Collective" corresponds to the procedure for awarding the title. The order of the Minister of Culture of the region (region) on confirming the title of "People's Collective" to the team and a copy of the protocol of the viewing commission are sent to the municipal culture management body.

Title "People's team"removed V the following cases:

If the creative level of the team does not meet the requirements described above, which is confirmed by the protocol of the viewing commission;

If, within the established time limits, the municipal cultural management body did not submit documents, and (or) the team did not submit a creative program to the viewing commission for reasons recognized by the attestation commission of the Ministry of Culture of the region (region) as disrespectful.

The decision to remove the title of "People's Collective" from the collective is made by the attestation commission of the Ministry of Culture of the region (region) on the basis of the presentation of the state regional organization of folk art. The decision of the attestation commission is drawn up by order of the Minister of Culture of the region (region).

The order of the Minister of Culture of the region (region) to remove the title of "People's Collective" from the collective is sent to the municipal culture management body.

2.3. Standards for the activities of the People's Collective; Rights and obligations of the folk collective

Folk groups must prepare during the year:

Genre name

creative team

Performance indicators

Dramatic, musical and drama theaters

At least one new multi-act and one one-act performance

Puppet theaters

At least one new performance and one concert program

Theaters of opera and ballet, musical comedy

At least one new performance and one concert program (at least 60 minutes long)

ABOUT orchestras of folk or wind instruments, instrumental, vocal and instrumental ensembles, choirs, vocal groups, song and dance ensembles, vocal, circus groups

Concert program in two parts, annually updating at least a quarter of the current repertoire

Choreographic groups

Concert program in two departments, annually updating at least 2 mass productions

Theaters of small forms (theaters of the reader, variety, miniatures, pantomime, etc.)

At least two new productions-programs

TO foreign, video studios

At least two new short films and assist in the creation of presentation films to cultural institutions (organizations) on the basis of which they exist

Photo studios

Fine and decorative arts studios

At least 3 new exhibitions of works and assist in the design of cultural institutions (organizations) on the basis of which they exist

The folk collective of various types and genres of artistic creativity should:

Present solo draw concerts (performances, exhibitions), including benefit concerts or performances and creative reports to the public

at least 4 during the year

Participate in group concerts, public events

at least 15 during the year

Take part inregional, regional, all-Russian, international competitions, reviews, festivals, the founders of which are government authorities, institutions, organizations

at least once a year.

Become a winner (grand prix, laureate, diplomas of 1,2,3 degrees) competitive event, not lower than the regional level, the founders of which are state authorities, institutions, organizations

at least 1 time in 5 years.

Classes in the Folk Collective are held systematically at least twice a week for three study hours (an hour of study is 45 minutes).

The folk collective carries out its activities in accordance with the standards.

The folk collective has the right to provide paid services: give paid performances, concerts, performances, take part in sales exhibitions, fairs, auctions, etc. In civil circulation, on behalf of the collective, the institution (organization) acts on the basis of which the People's Collective operates. The funds earned by the team can be used to develop the team and reward its employees.

Leaders and the best members of the folk team, leading a fruitful creative activity, can be presented in accordance with the established procedure for awarding all forms of encouragement accepted and operating in the industry.

When a team in full strength, together with the head, from one basic institution (organization) to another, or when the name of the team changes (with the preservation of its full composition and leader), the title of "People's Team" may be retained for the team, subject to the obligatory condition of passing the procedure for reissuing the relevant documents .

The basis for re-issuing documents is the Petition of the head of the municipal cultural management body addressed to the chairman of the attestation commission of the Ministry of Culture of the region (region) to amend the documents of the team, to which is attached a list of leaders and members of the team, certified by the seal and signature of the head of the base institution (organization).

2.4. Leadership of the People's Team. States of the People's Collective. Salary of specialists

General management and control over the activities of the folk collective is carried out by the head of the base institution (organization). To ensure the activities of the People's Collective, the head of the basic institution (organization) creates the necessary conditions, approves work plans, programs, income and expenditure estimates

The direct management of the Folk collective is carried out by the head of the collective - a specialist with the necessary education or professional skills and work experience (director, conductor, choirmaster, choreographer, artist-director of the studio of fine, decorative and applied arts, etc.).

The head of the People's Collective is hired and released from it in the manner prescribed by the current legislation, bears personal responsibility for the results of the activities of the collective.

Leader of the People's Team:

conducts a recruitment of participants in the team and forms groups according to the degree of preparation;

forms the repertoire, taking into account the quality of the works, the performing and staging capabilities of the group;

directs the creative activity of the collective to the creation of artistically full-fledged performances, performances, concert programs, works of fine, decorative and applied art, film, video and photographic works, etc.;

prepares performances of the group, ensures its active participation in festivals, reviews, competitions, concerts and mass celebrations;

carries out creative contacts with other amateur and professional groups;

maintains a Journal of accounting for the work of the team;

by the beginning of the educational and creative season, submits to the head of the base institution (organization) an annual plan of organizational and creative work, and at the end of it - an annual report on the activities of the team with an analysis of achievements and shortcomings, with proposals for improving the work of the team;

constantly improves his professional level, participates in professional development events at least once every 5 years.

In the People's Collective, working on the basis of a state, municipal institution (organization), up to 3 (three) rates of specialist positions can be supported at the expense of budgetary appropriations, the rest - at the expense of paid services of the base institution (organization) and the People's Collective. Institutions (organizations) of other forms of ownership have the right to independently determine the number of full-time specialists working in the People's Collective.

Official salaries of specialists of folk groups working in municipal cultural institutions are established in accordance with the wage system established by local governments.

Official salaries of specialists of People's Collectives operating at institutions (organizations) of other forms of ownership are established in accordance with the systems and forms of remuneration of workers adopted in this industry.

The length of working time for full-time leaders of the People's Collectives is set at 40 hours per week.

The working hours of full-time creative workers of folk groups include the time spent on all types of work: preparing and holding concerts, performances, special classes, group and individual rehearsals; 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, scenery sketches, recording of phonograms.

Conclusion

In the course of the work done and on the basis of the studied literature, the following conclusions can be drawn:

The collective of folk art is based on the community of creative interests. It is dominated by educational and creative activities aimed at acquiring knowledge, skills and abilities in various types of artistic creativity by students, developing their creative abilities.

The educational work of a teacher in a folk art group should include the general cultural development of students, educational and creative classes according to plans and programs, etc.

Creative and organizational work in a group of folk arts provides for the organization and conduct of systematic classes in the forms and types characteristic of this group (rehearsal, lecture, lesson, training, etc.), teaching the skills of artistic creativity, conducting creative reports on the results of their activities, attracting participants to the team on a voluntary basis in their free time from work (study)

The title of "folk", "exemplary" group of folk art can be obtained in case of fulfilling certain requirements, observing the standards of activity. The people's collective has the same rights and obligations.

IN Lately there is an increase in the need for gifted, creative teachers who not only deeply understand the pedagogical tasks of art in society, but also possess the necessary professional skills to work with groups of folk art, without which further development of the field of art education is impossible.

Thus, the role of professional higher educational institutions that train leaders of folk art groups is increasing. The effectiveness and quality of the educational process in folk art groups will depend on how university graduates are prepared to fulfill their professional and pedagogical duties in working with a creative team, what creative and pedagogical theories and methods they master in the learning process.

Bibliography

Asabin, A. M. Methodology of pedagogical management of an artistic and creative team: study guide / A. M. Asabin. - Chelyabinsk: ChGAKI, 2004. - 150 p.

Bogdanov, G. F. Forms of improving the organizational and educational educational work in amateur choreographic groups / G. F. Bogdanov. – M.: VN MTsNTI KPR, 1982. – 13 p.

Ivleva, L. D. Management of the educational process in the choreographic team / L. D. Ivleva. - Chelyabinsk: ChGIK, 1989. - 74 p.

Kargin, A. S. Educational work in an amateur art group: textbook. allowance for students cultural-clearance. fak. universities of culture and arts / A. S. Kargin. - M.: Enlightenment, 1984. - 224 p.

Makarenko, A. S. Collective and personality education / A. S. Makarenko. - Chelyabinsk: South Ural book publishing house, 1988. - 264 p.

Pedagogical Encyclopedic Dictionary / Ch. ed. B. M. Beam - Bad; Editorial staff: M. M. Bezrukikh, V. A. Bolotov, L. S. Glebova and others - M .: Bolshaya Russian Encyclopedia, 2003. - 528 p.: ill.

Regulations on the title "Honored Collective of Folk Art of the Chelyabinsk Region": approved by order of the Minister of Culture of the Chelyabinsk Region dated February 1, 2008 No. 23. - 2008. - February 1. – 9 s.

Regulations on the group of amateur artistic creativity of the regional state cultural and leisure institution of the Sverdlovsk region: approved by order of the Minister of Culture of the Sverdlovsk region dated October 12, 2006 No. 126. - 2006. - October 12. - 23s.

Regulations on the "folk" ("exemplary") group of amateur folk art of the Chelyabinsk region: approved by order of the Ministry of Culture of the Chelyabinsk region dated January 30, 2008 No. 19. - 2008. - 30 Jan. - 6 s.

Slastyonin, V. A. Pedagogy: a textbook for students of pedagogical educational institutions / V. A. Slastyonin, I. F. Isaev, A. I. Mishchenko, E. N. Shiyanov. - 3rd ed. - M.: School-Press, 2000. - 512 p.

Sokolovsky, Yu. E. Collective of amateur performances / Yu. E. Sokolovsky. - M.: Sov. Russia, 1979.

Khairullin, R. Bashkir Folk Dance Ensemble / R. Khairullin. - Ufa, 1966. - 33 p.

Kharlamov, I. F. Pedagogy: textbook / I. F. Kharlamov. - M.: Higher school, 1990. - 576 p.

Zuckerman, V. S. Folk art culture under socialism: textbook. allowance / V. S. Tsukerman. - Chelyabinsk, 1989. - 135 p.

Annex 1

APPLICATION

To consider the issue of __________________________________________________________

(assignment, confirmation of the title "people's", "exemplary")

1Team_______________________________________________________

Genre______________________________________________________________

Year of creation of the team _____________________________________________

Year of awarding the title of "people's", "exemplary" ______________________

Date and number of the Order ________________________________________________

Year of the last confirmation of the title ________________________________

Date and number of the Order _______________________________________________

Age type of the team __________________________________________

(adult, mixed, child)

2 Number of participants in the team: total ____________________________

3 Including: men ________________ women ________________________

boys ______________ girls ____________________________

Team address: postcode___________________________________

city ​​( area)______________________________________

institution ______________________________________

Street ___________________________________________

House number ______________________________________

telephones, fax ___________________________________

E-mail ___________________________________________

Information about the leaderI)team (information about all team leaders is attached):

4 Surname, name, patronymic _____________________________________________

Year and date of birth _______________________________________________

Education ( what and when graduated)___________________________________

_________________________________________________________________

________________________________________________________________________________________________________________________________

Work experience in the field of culture _______________________________________

(since what year)

Work experience with this team __________________________________

(since what year)

Titles, awards __________________________________________________________

__________________________________________________________________

Home address: postal code ___________________________________

city ​​( village), area__________________________________

Street _____________________________________________

house number ____________________ apt.__________________

telephone ___________________________________________

Manager's passport: series __________________number_________________

date of issue ________________ issued by ______________________________

Types and genres of amateur folk art. Their characteristic. specific features.

The life of a modern person is multifaceted and diverse in its manifestations. How a person rests largely determines his well-being, health and, ultimately, his performance. The high rhythm of life, the flow of impressions and various information have a direct impact on the nature of recreation, the way of using free time, on the tastes and needs of people, their aesthetic needs. That is why among the important elements of leisure, an essential place is occupied by amateur art. There will always be a place for this kind of occupation in schools, secondary and higher educational institutions, enterprises, palaces and houses of culture, rural clubs, etc.

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

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

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

Essential features of amateur creativity: voluntariness of participation in an amateur group, initiative and activity of participants in amateur activities, spiritual motivation of participants in amateur groups, functioning of amateur activities in the field of free time. Specific signs of amateur creativity: organization, lack of special training for activities among participants in amateur activities, a lower level of activity than professional teams, gratuitousness, etc.

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

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

Self-employment on one's own initiative. It contributes to the formation of an independently creative personality. Creativity is not conceivable without amateur performance. It allows you to know yourself, develop your abilities. An amateur art group is a voluntary association of lovers (of music, choreography, theater, etc.) based on a common interest and joint creative activity that contributes to the development of the talents of its members.

Participation in amateur art groups, exercise in their free time from work, study. It is an active form of social activity.

Amateur art is recognized to contribute to:

Expanding the horizons of the participants, the formation of moral qualities and aesthetic taste.

To promote the further development of mass artistic creativity, the wide involvement of new participants in it.

Culture serves the population.

Promote reasonable full-fledged leisure, organization of their recreation.

Today, amateur art and technical creativity have a diverse content and cover all types and genres:

Vocal activity (choral, solo singing).

Musical amateur performances (orchestras, ensembles, etc.).

Theatrical performance ( folk theaters).

Choreographic performance.

Fine Arts (painting, applied art).

Film amateur.

Photo amateur.

The highest form of manifestation of amateur art is the title of "folk collective" and "exemplary".

Folk art groups. Folk art is the oldest layer of artistic culture. It currently exists in various forms.

Firstly, this is actually folk art in its true, natural form - the art of singers, instrumentalists, storytellers, folk craftsmen carpet weaving, ceramics, embossing, carving, etc.

Secondly, these are professional forms of organizing folk art, for example, workshops and art and industrial combines based on ancient art crafts, the Northern Russian Folk Choir and other performing ensembles and groups that develop national and local artistic traditions. Each of these professional organizations varying degrees associated with a truly folk basis: in some cases, one can see careful adherence to the traditions of the past, in others - free processing of folk motifs.

A form of folk art is also amateur performances oriented towards artistic folk culture. In different republics and regions, amateur performances played an unequal role in the preservation and development of folk art forms. So, in the Caucasus, in Central Asia, amateur performance, inheriting national traditions, is very developed and close to its fundamental principle. In some regions of Central Russia, attention to folk art was weakened. The tendency to assimilate urban culture here often led to the fact that even in rural amateur performances the forms of development of professional art were copied (academic choir, theater, etc.). The self-activity of the "people's plan" often turned out to be eclectic.

At the same time, there are many regions in the country where amateur art has played an exceptionally important role in the development of national culture. It turned out to be a means of organizing, consolidating the elements of folk art, the basis on which the corresponding professional forms matured. So, for example, many small peoples of the North, the Amur region, on the basis of cultural and educational institutions, developed national forms of artistic activity. Both amateur and professional national ensembles arose here.

Self-activity of a folk character is a multifaceted phenomenon. Sometimes folklore itself sounds on the club scene. This happens when a folk singer, storyteller, a group of women who still remember folk songs are offered to perform in front of the public. Attracting public attention to the work of folk craftsmen is an important task for clubs, especially in areas where young people are one-sidedly oriented towards urban culture and have no due respect for local artistic traditions.

However, the simple transfer of folklore to the stage does not yet solve the problem. Often, folklore numbers in concert performance are not perceived by the public. In order for the folklore material to be understood by the audience, and the performers to feel as natural as possible, it is necessary to carry out some work, both with the audience and with the circle members. Folklore should be devoted to themed evenings, which can be built as a lively conversation between the host (of course, an expert on local artistic culture) and performers. It is even better if gatherings, weddings, festivities are recreated at a meeting with the audience. Here, of course, you need a director who knows the appropriate ritual well. It doesn't have to be a professional. Directing can be entrusted to a recognized craftsman: among folklore performers there are always their "ringleaders", their own authorities.

Another type of amateur performance focused on folk art is amateur performance, which sets itself the task of recreating folklore works. The members of such collectives are not originally masters or experts in folk art, but they want to master it. Ethnographic research, expeditions, meetings with folklore connoisseurs in their natural surroundings turn out to be a necessary element of work and study.

Another type of amateur performance is groups that do not set themselves the task of accurately reproducing folklore, take it as a basis, as a motive and subject it to significant processing, modernizing, and adapting it to life on the stage. This and ensembles folk dances, where dances are staged by club choreographers based on elements of folk choreography, and folk instrument orchestras performing arrangements of folk melodies, and vocal pop groups influenced by professional folk style vocal and instrumental ensembles.

The effectiveness of this amateur activity significantly depends on the special culture of the leader. Productions and arrangements of such a plan can deviate far from the originals and primary sources. There can be no prohibitions or any restrictions. However, one should distinguish between the creative and competent development of folk motifs from eclecticism, and in addition, one should not feed on the minds of the public and participants and identify this direction in amateur performances with genuine folklore.

Thus, artistic folk art is a huge and extremely important area the work of the club, requiring a truly creative approach. The leadership of an artistic folk group cannot be carried out on the basis of a strictly prescribed technology. But as a general method of management, one should use the general pedagogical theory of the team, the socio-psychological theory of managing group activities.

The development of amateur art in the 30s

In 1936, the Central House of Amateur Art named after. N.K. Krupskaya was reorganized into the All-Russian House of Folk Art. N.K. Krupskaya, who transferred his main work to village amateur performance. Until the war, the network of regional and regional houses of folk art, as well as amateur art houses of trade unions, continued to develop and stabilize. Amateur art shows have become more regular in the republics, regions and districts. The famous annual Leningrad Olympiads of amateur creativity continued to be held (1933 - the 7th, 1934 - the 8th Olympiad, etc.). The same Olympiads were held in many regions of the country - in the Urals, Ukraine, Siberia.

The holding of the First All-Union Choir Olympiad in the summer of 1936 in Moscow was of great importance for amateur art. It was preceded by field reviews.

29 best choirs participated in the finals of the Olympiad in Moscow, among them the DK im. M. Gorky and DK im. The first five-year plan of the city of Leningrad, the choir of Vychug weavers, the choir of builders in Kazan. These choirs, noted one of the reviews, "performed not only no worse, but sometimes even better than professional choirs."

Reviews, competitions, olympiads received a great public outcry. In the course of them, new circles were created, new genres were mastered and developed. First of all, new genres were actively mastered, in particular, the number of pop and jazz groups grew rapidly, the instrumental composition of folk orchestras was enriched and expanded. The “average” performance level of drama clubs has grown significantly.

By this time, the attention to the folk choral and instrumental art was intensified. If in the 1920s there were discussions about the value of folk choirs, necessary and unnecessary folk musical instruments, then in the 30s these rhetorical questions were gradually removed. Work unfolded on the organization of groups of these genres, their modernization, the search for new expressive means, repertoire. Folk choirs and orchestras remained in many places the main conductors of music to the masses.

It is equally important to note that attempts to recreate and bring folklore groups to the stage date back to this time. After a long "cool" attitude towards this form of folk art, which was widespread at that time, practical measures were taken to "cultivate" and recreate samples of folklore on the club scene. One of the well-known folklore ensembles, organized in the mid-30s, was the Gdovskaya Starina ensemble. It was created in the Gdovsky district of the Pskov region. The ensemble united lovers of ancient singing, playing the harmonicas and balalaikas, dancing and more.

Interestingly, the members of the ensemble were the initiators of the construction of the club, where they settled. In the repertoire of the ensemble, performances of folk songs and ancient rituals were widely used. This ensemble gained wide popularity, performed repeatedly in Moscow, on the central radio.

A large amount of research work was carried out by the Theater of Folk Art in Moscow, founded in March 1936. Taking into account the experience of this theater, theaters of folk art were opened in Kuibyshev and some other cities in 1937.

The Theater of Folk Art in Moscow provided invaluable assistance in the development of amateur art activities. The theater showed the achievements of the best teams of the country, prepared special creative programs like mass festivities, timed to coincide with the most significant events in the life of the country - May Day holidays, Lenin days, etc. Theater Director B.M. Filippov, in an article published in the Trud newspaper on March 18, 1937, wrote: “In order to show the creativity of the peoples of the USSR in its entirety and diversity, we need the help of the greatest masters of art. We believe in the great prospects of the theatre, for it draws its cadres of performers from the masses of the people.”

The stage of the theater was provided for holding olympiads, reviews, final amateur concerts. On the basis of the theater worked big number amateur demonstrative circles, which were led by outstanding masters of art. The dance circle was led by I. Moiseev, the jazz orchestra - by L. Utyosov. Theater circles became a kind of creative laboratory, their activities attracted by the search for new forms and means of expression.

In the years under review, amateur performances continued to enrich themselves along the repertoire line. This happened in different directions: firstly, along the line of turning a significant part of the circles to Russian and foreign classics, to the best works of A. Pushkin, A. Glinka, M. Griboyedov, A. Ostrovsky, V. Shakespeare, M. Mussorgsky, N. Rimsky-Korsakov; plays by M. Gorky, V. Vishnevsky, V. Bill-Belotserkovsky, K. Trainer and others. Secondly, along the lines of a more in-depth disclosure of the content of the plays, their higher artistic and technical performance. Thirdly, along the line of social rethinking of samples of folk art, an increasingly objective attitude towards them, the exclusion of their vulgar-critical assessment; fourthly, along the line of active appeal to the new Soviet repertoire.

Among the positive moments in the field of repertoire, one can also include the fact that cases of subjective interpretation and distortion of plays at the will of the leader have sharply decreased, interest in folklore and sharp-sounding social works has increased. This has become especially noticeable since the decades of national art and literature held annually in Moscow.

Within their framework, the achievements of amateur art were also demonstrated. In 1936, decades of arts were held in Ukraine and Kazakhstan, in 1937 - Georgia, Uzbekistan, in 1938 - Azerbaijan, in 1939 - Kyrgyzstan and Armenia, in 1940 - Belarus and Buryatia, in 1941 - Tajikistan.

On August 1, 1939, the All-Union Agricultural Exhibition opened, on the grounds of which the best amateur groups began to perform. Only in 1939, a number of Russian song and dance ensembles, the collective farm song and dance ensemble of Uzbekistan, the choir of collective farmers of Kazakhstan, the ensemble of komuz players of Kyrgyzstan, the ensemble of ashugs and zurnachi of Azerbaijan and other groups performed at the exhibition.

There was an increase in the role of artistic amateur performance in the spiritual sphere, its influence on economic life, the education of the masses, and the strengthening of the country's defense might grew.

Amateur art helped in the fight against illiteracy, religiosity, which made themselves felt especially acutely in the countryside. Amateur performances performed aesthetic and educational tasks in those places where professional art did not reach and could not actively influence the population.

In the early 1930s, musical groups first appeared in Leningrad, which later took shape as song and dance ensembles. In 1932, the poem "Accordion" by N. Kuznetsov was staged in the House of Culture of the Vasilyevsky District (now the House of Culture named after Kirov). It was performed by a working choir, an orchestra of folk instruments, readers and a dance group. The House of Culture of the Industrial Cooperation (now the Lensoviet Palace of Culture) showed a number of interesting musical performances. For the 19th anniversary of October, the amateur song and dance ensemble prepared the musical composition "Motherland".

In the second half of the 1930s, amateur photography circles appeared, and amateur dance and art amateur performances became much stronger. The instrumental composition of the Russian folk orchestra expanded due to the introduction of button accordions, and the first orchestras of national musical instruments were created in the republics.

The outstanding Soviet composer, conductor, creator and leader of the Krasnoarmeysky Song and Dance Ensemble A. Alexandrov wrote in 1938 that the ensemble form of artistic work should become widespread. Large enterprises have full opportunity to create factory song and dance ensembles. At the same time, it is not at all necessary that the ensemble should include 150 - 170 people. You can organize small ensembles of 20-30 people. A. Alexandrov expressed a number of fundamental considerations about the problems of this form, gave methodological recommendations. In particular, he touched upon the organization of the study of the participants, the problem of the repertoire. According to him, the ensemble has the opportunity to “work on a diverse folk and classical repertoire.

The artistic direction of the ensemble should select such a repertoire that would allow full use of all the artistic means of the ensemble, i.e. choir and dancers. Grateful material can serve as folk dance and round dance songs and songs of the peoples of the USSR in general.

By the 20th anniversary of October, the results of the development of amateur art activities over two decades were summed up. By that time, this process was distinguished by its versatility, variety of forms, types and genres. Only in the field of amateur performances did four-part choirs, peasant folk song choirs, theatrical choirs, song and dance ensembles, opera studios, singer-soloists, sound imitators, whistlers, vocal duets and trios operate; orchestras - symphonic, Russian folk instruments, wind, domra, noise, jazz orchestras; ensembles of national instruments - kanteli players, bandura players, etc.; domra quartets and the so-called village trios - mandolin, balalaika, guitar; harmonists, pityers, etc. Amateur art has turned into an extensive network of dramatic, choreographic circles and studios. Their performances gathered thousands of spectators and were broadcast on the radio.

During the reviews, competitions, the professional skills of the participants, copying the forms, repertoire, content of the activities of professional groups were evaluated with the highest score. This forced the leaders to abandon the mass involvement of those wishing to sing, dance, play, the development of truly amateur beginnings in work and focus on selecting the most capable among the participants.

Despite the measures taken, most of the leaders of the circles remained insufficiently prepared. They continued to train mostly in courses that weren't enough. Thus, in the first half of 1938, 445 people were trained at 153 trade union courses. Of these, 185 - in three-month courses, and the rest - in short courses and seminars. Taking into account the number of circles, calculated by that time in tens of thousands, there were clearly few prepared. The quality of training in short-term courses and seminars was low.

The number of students in special educational institutions - musical, art, theater technical schools and schools in the departments of organizers and instructors of amateur art activities remained small. Their releases could not significantly improve the composition of the leadership cadre. Moreover, at the end of the 30s, admission to these departments was further reduced.

Despite everything, amateur art remained the main source of satisfaction of the aesthetic needs of the population, especially in the countryside and in small towns. Immeasurably increased amateur art and quantitatively. From the beginning of the 30s, when there were about three million participants, their number increased by the beginning of 1941 to 5 million. The following detail can be noted: if in 1933 in one trade union club there were on average 6-7 circles (about 160 participants), then in 1938 - 10 circles (about 200 participants). The performance skills of the participants have grown significantly. Not only individual teams and performers demonstrated high professionalism during reviews and olympiads. For the most part, amateur art has made a significant step towards mastery, mastery of musical notation.

The idea of ​​organizing diverse educational and creative work in amateur art, further developing its specific methodology becomes dominant. A systematic and full-fledged educational and creative process was considered as one of the main factors that ensure the development of amateur art activities, the mastery of a new, ever more complex repertoire. The development of acting, choral, dance, instrumental and performing culture, new rhythms, new content, new artistic and technical techniques was placed at the center of all the activities of the circles.

The material base of the circles has been significantly strengthened. Such giants as the Palace of Culture to them. Kirov in Leningrad, Palace of Culture. Stalin in Moscow, Rybinsk Palace of Culture. The expenditures of trade unions for the development of amateur performances and the work of clubs have increased significantly. The status of the trade union clubs has been considerably strengthened. The 3rd All-Union Conference on the work of trade union clubs, held in April 1939, adopted the Regulations on the trade union club, which provided for its rights and obligations in relation to mass artistic creativity. All this provided favorable conditions for the development of various genres of mass creativity, especially in the city. Paid studios were widely developed: instrumental, choral, literary, choreographic, fine arts.

Mass types of amateur performances grew rapidly. Only from 1935 to 1938, the number of participants in musical circles in trade union clubs increased from 197 thousand to 600 thousand people, in drama circles - from 213 thousand to 369 thousand.

In general, there were more than one million participants in the amateur trade union activity.

The regional reviews held before the war, and then the All-Union Review of theatrical amateur performances (December 1940 - January 1941), organized by the Committee for the Arts, demonstrated in their entirety the gains and huge prospects for mass artistic creativity. The All-Union Review was attended by 30,000 teams (of which 22,000 were from the countryside), with more than 417,000 participants.

The plans for the work of theater groups included familiarization with acting, stage speech; musical and choir groups - the study of musical notation, the technique of playing instruments, voice setting; groups of fine arts - the study of drawing, painting, composition; dance groups - familiarization with the basics and methods of folk and classical dance, acting. To conduct educational and educational work in teams, it was proposed to widely use correspondence consultations and correspondence art education organized by amateur art houses and folk art houses.

Attention was drawn to the need to streamline reviews, amateur concerts. Reviews, Olympiads were proposed to be held at enterprises annually, and nationwide - according to a special resolution of party and state bodies.

Personnel, material and repertoire issues were raised, on the solution of which the attention of trade union bodies, houses, folk art, and amateur performances was focused.

The cultural bodies began to implement this program of amateur performances in the late 1930s. However, it was not possible to fully expand. The aggravation of the international situation, the perfidious attack of fascist Germany on our country interrupted the peaceful creative work of the Soviet people. Artistic activity, like everything else Soviet art, joined the fight with the enemy.

Amateur art during the Great Patriotic War

In the first days of the war, many artists thought that their activities in art were over and were ready to do any work needed by the Motherland. However, it turned out that a sincere song, a passionate monologue and a dance helped people to cross the fatal line that separated their former life from the future, which some entered by stepping over the threshold of recruiting offices, others - seeing off their loved ones to the front.

The beginning of the war significantly complicated the activities of the circles. This was due to the general difficulties of wartime, a sharp reduction in the number of amateur art activities and the need to restructure it on the rails of wartime. It had to use its own means to help the people's struggle against the invaders, to expose the inhuman essence of fascism, its pathological hatred of socialism.

Despite the difficulties of wartime, the deep nature of the people's interest in amateur creativity was revealed.

The development of amateur art activities was carried out, as it were, in three streams - in the rear, in active units and formations, in partisan detachments and zones. The most powerful during all the years of the war was the network of amateur circles in the rear, among the civilian population, in factories, factories, state farms and collective farms.

First of all, in the first months of the war, most of the circles sharply reduced their activity, many broke up and stopped working. This happened for several reasons. Firstly, in connection with the mobilization of a significant part of the population, especially men, to the front; secondly, because of the temporary but rapidly spreading occupation of part of the country's territory; thirdly, in connection with the destruction and transfer for other needs (use for hospitals, military courses, headquarters of formations, etc.) of part of the club institutions, as a result of which the circles were forced to change their usual place of employment and move to workshops, red corners , hostels, etc.; fourthly, in connection with the restructuring of everyday life, all life on a military regime, an increase in employment of the population and the duration of working hours; fifthly, the unfavorable psychological climate in the country, which developed in the first months of the war, also had an effect.

One of the exciting episodes of the war is the history of the creation of the dance ensemble of the Leningrad Front, which included teenagers who studied before the war in the studio of the Leningrad Palace of Pioneers. It was headed by R.A. Varshavskaya and Arkady Efimovich Obrant (1906 - 1973), smart, sensitive teachers who encouraged the creative initiative of the children, contributed to the development of their patriotic feelings.

In the first days of the war, Obrant joined the people's militia, and in February 1942 he received an order from the political department of the front to find his former students to replenish the propaganda team of the 55th Army. He managed to collect only 9 extremely emaciated guys. But a month later, Obrant prepared several dance numbers with them.

“... On March 30, 1942, the guys took part in a concert at a rally of nurses and doctors ... The guys danced, overcoming weakness ... And in the auditorium, the nurses were crying, it was impossible to resist tears at the sight of exhausted blockade children trying to from the last strength, merrily and temperamentally dance, ”recalls A.E. Obrant.

After rest and treatment in the field hospital, the teenagers began to work with enthusiasm and soon acquired excellent dance form. In each number - and they mainly performed dances of a heroic content: Red Army dances and others - the guys put so much temperament and passion, as if they were fighting in a real battle.

The ensemble gave more than three thousand concerts for the soldiers of the Leningrad Front and the inhabitants of the city. On May 9, 1945, during the celebrations that took place on the Palace Square, young dancers performed the triumphant "Victory March". They rightfully deserved the high honor to participate in this holiday. This honor was awarded to many artists who performed on this unforgettable day in the squares of our country in front of thousands of spectators. The Patriotic War confirmed that Soviet artists were always with the people - both in times of disaster and in days of victories.

After the end of the war, all members of the ensemble (already consisting of 18 people) were awarded orders and medals and demobilized from the army.

In 1945, the ensemble was transferred to Lengosestrada, where the Leningrad Youth Dance Ensemble was created on its basis. During the harsh war years, the art of dance had a strong emotional and ideological impact on the then audience, which was in dire need of bright, joyful impressions. And this indissoluble connection with folk life gave a new impetus to the development of Soviet choreography, including variety dance, prompting both new topics and new forms of their implementation.

The amateur art activities of the war years switched mainly to work in small teams. This allowed them to be highly mobile, easy to move. It was easy to organize their performances in a small room, in a hospital ward, at a railway station, a propaganda site, on a field camp, in a red corner, etc.

Moscow art circles gave over three thousand concerts in the Red Army units defending Moscow, at the construction of near and far frontiers. The collectives of Leningrad carried out the same work.

Amateur groups carried out a great concert and creative work among the soldiers of the Red Army both at the front and in the rear, speaking to them in places where military formations were formed, in hospitals.

According to the available incomplete data, in 1943 alone, participants in the amateur performances of trade union clubs gave concerts for 1,165,000 soldiers, commanders, and political workers.

Among the concert brigades in many areas, reviews and competitions were held for the right to perform in front of front-line soldiers. Genuine masters were selected for the brigades, who knew the art of song, playing instruments, acting data, who knew how to raise the spirit of the fighters, their mood with their art.

In the summer of 1942, a city review of propaganda teams was held in Moscow, in which 50 teams participated. From December 27, 1942 to January 5, 1943, performances by the best propaganda teams, circles and soloists of amateur art were held in the capital.

Various reviews began to be held especially actively since 1943. They were of great importance. Firstly, they made it possible to more actively restore pre-existing circles and form new ones, to involve new members; secondly, the reviews made it possible to significantly intensify the artistic and creative activity of the circles, increase the number of their performances in front of the population, in hospitals, in red corners, etc.; thirdly, during the reviews, ideological and educational tasks were better solved; fourthly, the reviews contributed to the effective solution of the problems of amateur art itself, its performing culture, the mastery of a new repertoire, the search for new means of expression and their dissemination.

In March 1943, the city committee of the All-Union Communist Party of Bolsheviks of Leningrad called for organizing amateur circles at houses of culture, clubs, red corners, and systematically holding reviews of Kh.S. In April-June 1943, a review of amateur art performances was held in the besieged city, in which 112 teams and 2100 participants participated. At the end of the year, a city-wide review of amateur performances took place in the hall of the Maly Opera Theater in Leningrad. During the blockade, amateur groups of Leningrad gave over 15 thousand concerts.

In the army, military councils began to hold reviews of amateur performances in regiments, divisions, armies, and at the fronts. Reviews were met with enthusiasm by the soldiers. In all parts, groups of dancers, singers, musicians, reciters, etc. began to be created.

From June 15 to September 15, 1943, the All-Union Review of Amateur Art was held. It was organized by the All-Union Central Council of Trade Unions and the Committee for the Arts. The review was of great importance for the development of creativity, it covered almost all regions of the country. Reviews were held in besieged Leningrad, in military units, in many areas liberated from occupation. The organizing committee of the review worked actively, which regularly controlled its progress, organized methodological assistance, visits of masters of art, students of art educational institutions to provide patronage assistance to circles.

On June 26, 1943, the organizing committee at its meeting heard a report on the amateur art show in Leningrad. In the decision of the organizing committee, it was noted that the review of folk art organized in Leningrad was an event that contributed to the restoration and further development of amateur art in the heroic city. 122 teams took part in the review, including 25 theatrical, 23 choreographic, 22 choral, 39 concert teams, 3 string orchestras, with a total number of more than 2 thousand people.

In the country as a whole, according to incomplete data, about 600 thousand workers, collective farmers, employees, united in 48.5 thousand collectives, participated in the review.

On September 25, 1944, the secretariat of the All-Union Central Council of Trade Unions adopted a resolution "On holding an All-Union review of amateur choirs and vocalists", which was held jointly with the Committee for Arts under the Council of People's Commissars of the USSR. It was the last review of amateur art performances of the war time.

In order to successfully conduct the review of choirs and soloists, to solve the tasks assigned to them, the All-Union Central Council of Trade Unions, the Central Committee of the All-Union Leninist Young Communist League, the Committee for the Arts, and other departments have developed and implemented major organizational and methodological measures, allocated additional financial resources for the development of circles, the purchase of costumes, equipment, musical instruments .

The best amateur groups were invited to speak on the radio, and other popularizing work was launched. Particular attention was paid to providing amateur choirs and soloists with a full-fledged Soviet repertoire and its high-quality performance.

All the tasks assigned to this review were completed. Amateur choral performances significantly restored their ranks, work in other genres became more active. If in the middle of 1944 there were about 5 thousand choirs with 80 thousand participants, then a year later there were 9315 choirs and 162 thousand 273 participants.

From August 20 to September 6, 1945, the final review was held in Moscow. It was attended by 40 best choirs selected at republican and regional competitions, 3325 choristers, 29 soloists. The final performances were held in the Hall of Columns, the Great Hall of the Moscow Conservatory, the best Palaces of Culture. The final concert, held in September 1945 in Bolshoi Theater, resulted in a genuine celebration of Soviet amateur art, aroused great interest, attracted thousands of new participants.

In 1943 - 1944 the regional houses of folk art, regional houses of amateur performances, created before the war, resumed their work. Soon after the blockade was lifted, the Leningrad Regional House of Folk Art was restored. These methodological centers began to carry out diverse work to assist amateur art activities, purposefully directed its development, strengthened patronage principles in the practice of choirs, drama circles, and orchestras.

By January 1, 1945 (2131 clubs were surveyed), there were 39,621 circles with 519,682 members in the club institutions of the trade unions.

In conditions when there was a sharp reduction in professional creative teams, amateur art performed their functions. In the most remote corners of the country, in the workshops of factories, in red corners, her voice sounded full-blooded. Amateur art, together with the entire Soviet people, forged victory in the Great Patriotic War.

Amateur art in the period of post-war reconstruction

A feature of the work of amateur art at that time was its transfer to the rails of peacetime, the development and enrichment of those parties in the repertoire, content, forms of organization that would serve to solve peaceful problems related to the restoration of the national economy, the satisfaction of new spiritual and aesthetic demands of the population.

In the process of this perestroika, the difficult tasks of restoring the ranks of amateur art activities, enriching its content, mobilizing not only for the glorification of military prowess, labor heroism, patriotism, and fortitude of the spirit of the Soviet people, but also for the reflection of peaceful tasks, for the defense of peace, and the establishment of the ideals of socialism were solved. This required significant efforts to improve the state and methodological guidance of amateur performances, training and retraining of personnel, creating a new repertoire, strengthening its material base, etc.

Work to solve these problems began from the first peaceful months. The existing ones before the war were restored and new regional and regional houses of folk art were created, training courses for leaders began to be organized again, they were freed from misuse and collective farm, state farm, state, trade union clubs were built again. Creative unions increased attention to the creation of a new repertoire.

Serious efforts were directed at restoring the network of club institutions. As a result of the measures taken, by the end of the 1940s, the number of club institutions not only reached the pre-war level (118 thousand clubs, including 108 thousand in the countryside), but also significantly exceeded it. In 1951, there were 125.4 thousand club institutions in the country, including 116.1 thousand in the countryside. And by the end of the 1950s there were 127,000 club institutions.

From June to October 1946, the All-Union review of musical and choreographic amateur performances of workers and employees was held. More than 770 thousand people took part in it. The review was held by the All-Union Central Council of Trade Unions and the Committee for Arts under the Council of Ministers of the USSR. The review showed the rapid development of genres, the active search for expressive means in amateur performances, its restructuring in peaceful conditions. About 1,800 participants from various cities and regions of the country took part in the final concerts of the review, held in Moscow from October 1 to November 9, 1946. In total, about 3 million people participated in amateur performances at the beginning of 1947.

In the repertoire of amateur performances, the dominant place began to be occupied by works that glorify the return to peaceful labor, peaceful construction, the struggle for peace, and the rallying of all peace-loving forces.

In 1948, the first post-war All-Russian review of rural amateur performances was held. More than 11 thousand new circles were organized during the review. The review was attended by about 1.5 million collective farmers, workers of MTS, state farms, representatives of the rural intelligentsia. The final concert took place at the Bolshoi Theater in Moscow, documentary about him under the title "Songs of collective farm fields" was shown with great success on the movie screens of the country.

The achievements of amateur circles were annually demonstrated at district and regional reviews, which resulted in genuine holidays of folk art.

Beginning in January 1951, a number of measures were taken to identify the most talented amateur performers and send them to study at the conservatory and other art educational institutions.

This step envisaged not only the strengthening of professional groups with talented specialists, but also the direction of some of them to work with amateur choirs, orchestras, ensembles and studios.

In the early 1950s, the faculties of cultural and educational work at the Moscow, Leningrad and Kharkov Institutes of Culture began to train specialists who also mastered certain skills in working with amateur groups.

Thus, by the beginning of the 1950s, amateur art activities successfully restored their ranks, serious work was carried out to improve all its aspects, to provide specialists.

At the end of the 1950s, opera studios, large symphony and folk orchestras, drama and choreographic groups were again revived, which became capable of performing complex works. All this testified to a qualitatively new level of performing and general culture of amateur creativity, and really reflected the dynamic process of its development.

Further development is gained by amateur performance directly at the place of residence, in red corners, in the workshops of factories, factories, farms. The economic and party bodies encouraged the activities of circles, provided them with assistance, and considered them as one of the valuable forms of organizing the leisure of the population.

In the late 1940s and early 1950s amateur composers received a new impetus in development, the first post-war groups appeared, and pre-war ones were revived. The members of the circles actively learned the skills of composing writing, mastered special knowledge.

Houses of folk art, houses of amateur performances took various measures to help self-taught composers. As a result, creativity becomes even more massive and professional. Many of them were recommended to study at music schools. At the same time, amateur composing activities were replenished with persons who had undergone special training. Many of the accordionists, domrists, vocalists, etc. turned to writing. Farm managers often asked them to write a song about the plant, for an anniversary, etc.

Secondly, there was a lack of modern, topical repertoire, reflecting not only general social, state problems and rhythms, but also local ones - regional, city, district. We needed songs based on local material. And they appeared mainly from the pen of amateur composers.

Thirdly, the generally increased musical culture and education of amateur performance leaders, the opening of special musical educational institutions in almost all regional centers - schools, and in many - conservatories also contributed to the development of amateur creativity.

The repertoire of musical circles in Leningrad, Moscow and other large cities has been enriched even more. And this applied not only to the leading groups, but to most of them, to mass amateur performances.

At the turn of the 50s - 60s, it was widely practiced to hold reviews, competitions, festivals of amateur art in the regions, regions, and districts. They made it possible to maintain a high general tone of its development, timely eliminate emerging "bottlenecks", successfully solve the social tasks put forward by the party to the Soviet people. The best representatives of amateur performances participated in republican, all-Union competitions, reviews and exhibitions.

In 1959 - 1960. a review of the works of amateur artists took place in the regions, in the republics, and following its results, the 2nd All-Union Exhibition of works by amateur artists was organized. At the final stage of the review in Moscow, about 5 thousand of the best works of painting, graphics, sculpture, arts and crafts were exhibited. This is almost 2.5 times more than it was at the 1st All-Union Exhibition in 1954. In total, more than 500 thousand works were exhibited for viewing in districts, regions, territories, republics.

Further development was received by art studios, which became the main forms of teaching amateur craftsmanship. During the review, new forms of work of studios, circles with the population and participants arose. Amateur artists organized a significant number of art galleries, both in museums and in public places and cultural institutions. They lectured on art at public universities, lecture halls, and oral magazines.

It was carried out in a similar way in late 1961 - early 1962. All-Russian review of folk theaters.

Reviews of amateur performances, which played a big role in catalyzing its development, were held in all Union republics, territories and regions. For example, in Belarus in 1958 a decade of amateur art was held in Minsk; in 1959 - review of amateur performances of schoolchildren, collective farms and state farms; in 1961 - again a decade of amateur art in Minsk.

The Ministry of Culture of the Ukrainian SSR was one of the first in the country to open three-year faculties of social professions, to which young people were admitted on vouchers for the Komsomol and trade unions. At the faculties, leaders of musical, choral, drama and dance circles were trained according to the approved curriculum.

In the second half of the 50s, the first trips of Soviet amateur choirs, song and dance ensembles, folklore ensembles to the GDR, Hungary and Finland took place. These trips served to strengthen friendship between peoples and introduced foreign viewers to the achievements of folk art in the first country of socialism.

At international competitions in 1957. 7 Soviet amateur groups were awarded gold medals of laureates, 8 - silver and 7 - bronze. Among them are the folk choir of the Shestakovskaya MTS of the Voronezh region, the song and dance ensemble from Baku, etc.

Serious difficulties were observed with the repertoire of circles. Little was published and republished classical works. There was no purposeful work on the selection and recommendations, taking into account the features and possibilities of amateur performances of new plays.

Before the war, houses of folk art, houses of amateur art produced a significant number of collections of plays, songs, methodological instructions and manuals, recordings of dances, etc. through government publishers. Similar materials were published in large quantities in the journals "Amateur Art", "Cultural Work of Trade Unions", etc. Their publication ceased during the war years. They were restored only in the late 50s.

During this period, there was a clear decline in the development of traditional genres. The number of folk, symphony, brass bands, folk choirs gradually decreased. In 1952 1,123 out of 6,000 cultural centers and trade union clubs did not have choirs, 1,566 did not have orchestras, and more than 3,000 did not have dance groups. Collectives of these genres faced serious creative, organizational, and material difficulties.

Serious difficulties were also pointed out in the development of brass, pop music and dance art.

The need for qualified personnel was felt in all genres. Difficulties with personnel, with the repertoire, insufficient methodological assistance affected the growth of the general and musical literacy of the participants, teaching them professional skills in the field of drama, choreography and other types of art.

The task was to develop a methodology for teaching, educating in amateur performance, taking into account its specifics, relevant curricula and programs, textbooks and teaching aids.

The development of amateur art activities in the period from the late 1930s to the late 1950s, its enrichment, and the restoration of collectives that had been significantly reduced during the war years were ensured by various practical measures on the part of cultural bodies, party and public organizations, management of enterprises, collective farms. They played an important role in the emergence of highly artistic choirs, orchestras, drama and other groups, in the growth of the performing culture as a whole among the entire mass of circles. The public prestige of amateur performance increased, it more and more actively penetrated into social practice, the sphere of leisure of the population. Qualitatively new processes were observed in its development, reflecting the changes taking place in the socio-economic and spiritual spheres of the life of Soviet society.

Amateur art in the 60s-80s

In the early 1960s, about 550,000 theaters, choirs, orchestras, groups of other genres, covering about 10 million people of all ages, professions, and various social status, operated in the ranks of amateur art.

A notable event in the life of dance on the stage in the early 60s was the appearance on the poster of a new name: Vladimir Shubarin.

In an article by Ya. Varshavsky, written by him in the same years (when critics began to pay great attention to variety art), there is an interesting observation of a general nature, explaining to some extent the extraordinary popularity of Shubarin. Comparing a pop dancer with an academic one, the critic wrote: “He looks more everyday, “earthly”, even if he has a complex technique. The entertainer, as it were, shows the viewer himself - an “ordinary person”, teases the creative beginning in him, shows how much, in essence, he has talents.

Shubarin's appearance is usual - a Russian boy, of small stature, well-built, although not flawless build. But from the very first appearance on the stage, it becomes clear that he was born for the stage.

The main charm of the dancer is in the ease of manner. Having bowed in a friendly manner and immediately won the sympathy of the audience with a friendly smile, he begins to tell, that is, to show, although this reservation arises for a reason, how clever, mobile, elegant our contemporary is, how light irony is characteristic of him and with what captivating simplicity he can unexpectedly accomplish the unprecedented .

The work of Shubarin, who is also the director of most of the numbers he performs, goes in the same direction as the entire Soviet choreography. He is looking for a strong fusion of virtuoso classical dance with modern plasticity - that fusion of technology and aesthetics, from which one can create diverse and complex images. Of course, with the addition of acting expressiveness and fantasy - Shubarin is also endowed with them.

Vladimir Alexandrovich Shubarin (1934) came to the stage in 1963, already having the title of Honored Artist of the RSFSR, which he received as a soloist of the Red Banner Song and Dance Ensemble. Prior to that, Shubarin worked in the Ensemble of the Moscow Military District, even earlier - from 1951 to 1954, in the Pyatnitsky Choir, masterfully performing Russian dances.

For the first time, Shubarin joined the dance in an amateur circle of the Builders Club of the city of Novokuznetsk, where he studied at the metallurgical technical school. In the circle, the emphasis was on the study of folk dances, although some basics of classical training were also passed - in a word, the usual program of circle classes was given. But one of the educators in the past has been speaking classes. But one of the teachers, who had previously performed as part of a jazz orchestra, introduced Shubarin to the techniques of eccentric dance, tap and tap dance techniques, which he quickly mastered. And yes, I fell ill with jazz.

At first, he just liked to fantasize movements to popular tunes. Awareness of the rhythmic richness of jazz music, its improvisational nature, which gives great scope for creativity, came to him later, when he became a mature dancer.

In the 60s, the understanding finally came that jazz, although a contradictory phenomenon, is nevertheless connected by its roots with folk art, mainly with Negro music. The point of view that dominated for many years on jazz as “music of the fat” has ceased to obscure “ true value jazz: its collectivity, festivity, spectacle, openness for the direct participation of listeners in the musical action.

In 1962, the next plenum of the board of the Union of Composers of the RSFSR was devoted to the problems of song and pop music (including dance music). Opening the plenum, D.D. Shostakovich emphasized: “In recent years, many improvised jazz have appeared. They have a wide youth audience, they bring a specific musical beginning to the musical life, but they work without any criticism and support. Their activity deserves a comprehensive discussion, because it contains a lot of obscure, contradictory things, but at the same time it meets real-life needs.” Shostakovich urged composers to work in all genres and forms of popular music, remembering that it is "the property of millions."

In subsequent years, not only this brilliant musician, but also many talented composers created instrumental pieces and pop songs intended for jazz. Worse was the case with dance music, and consequently with the dance itself.

Timid attempts to create their own, Soviet everyday dance did not bring success, and young people stubbornly wanted to dance something new. Along with the melodies of rock and roll, twist, neck, etc. leaked information about how they should be performed. Most often, this information turned out to be inaccurate, they were supplemented by the dancers' own imagination, who were not aesthetically prepared, who did not own elementary dance techniques. Shubarin persistently deepened his knowledge and understanding of jazz music. He even learned to play the percussion instruments, which helped him in his work, as he taught him to “lay out” rhythmically any piece of music written for jazz.

During the foreign tours of the Red Banner Ensemble, Shubarin did not miss the opportunity to get acquainted in more detail with the jazz style of dance, which is based on many elements not only of Negro folk dances, but also of Latin American ones. At the Mexican Academy of Dance, he attended 10 lessons in the modern dance department. In Los Angeles, while training with the troupe of J. Balanchine, Shubarin discovered his understanding and ability to combine classical dance with jazz style and received valuable advice from an American choreographer. In this way, knowledge gradually accumulated, which formed the foundation of the individual style of variety dance created by Shubarin.

The orchestra performs a jazz piece and the viewer is transported to the atmosphere of the beginning of the century, when jazz melodies were still melodic and naive, dandies wore striped jackets and boaters, and cake-walk, matchish and Charleston were fashionable dances. Shubarin does not restore these dances. It only accentuates their most characteristic features: syncopation of rhythm, some mannerism of performance, slight eccentricity of movements. He deftly plays with accessories: a cane, a top hat - and with some completely elusive strokes he suddenly evokes familiar images of Chaplin, Harold Lloyd - the first heroes of comic films that once owned the hearts of the audience.

Unfortunately, Shubarin did not listen to the opinion of professionals who advised him to involve directors in the creation of his programs. Moreover, young choreographers who feel the style of jazz music began to appear on the stage. In addition, being constantly on tour, sometimes performing during the day in several concerts, Shubarin was simply physically tired and somehow went out internally.

Feeling, apparently, some trouble, Shubarin began to look for new forms of building a program (at one time he performed with a dance group, which did not contribute anything fundamental to his work). Unfortunately, he did not realize that the main thing for him was to find a choreographer who was close in understanding the tasks of pop choreography, who could help express his interesting ideas in a figurative dance language. In particular, the development of the synthesis of jazz forms of dance with national elements, so interestingly announced earlier by this talented dancer, who set new high standards of performance skills on the stage, creating his own unique genre.

At this time, the promotion and assignment of the title of "folk" musical groups, circles of other genres took place. In 1959 the people's musical groups there were four, and in 1965 there were already 455. In addition, there were 128 song and dance ensembles and 134 dance groups bearing the title of "folk". In total, by this time there were more than 1600 folk groups.

Of the 455 folk musical groups, there were 137 orchestras and 318 choirs.

The appearance of folk groups was rightly recognized as the most important milestone in the development of amateur creativity. Being exemplary in a certain sense, folk groups became methodological, consulting centers, assisted circles and groups of workshops, red corners, etc.

The quantitative growth of amateur art in the second half of the 60s - early 70s was particularly intense. Suffice it to say that in 1970 13 million adults and 10 million schoolchildren participated in amateur groups. In 1975, more than 25 million people united amateur activities. By this time, more than 9 thousand amateur groups bore the title of "folk".

At the end of the 60s, amateur performances of the clubs of the system of the Ministry of Culture and performances, which were watched by about 250 million spectators. In the mid-70s, the number of spectators of amateur performances began to amount to more than 500 million annually.

This period includes the wide development of multi-genre principles in the practice of amateur art. We are talking about the emergence and rapid development of such amateur organizations as folk philharmonics, folk conservatories, folk singing schools. They united both entire amateur groups, music, choral studios, and individual performers. In each republic, the Regulations on the People's Philharmonic Society were developed, which regulated the entire organizational, creative, financial, etc. practice of this type of amateur associations. Folk philharmonics, conservatories, singing schools carried out serious, systematic educational work, organized a cycle of concerts, thematic shows, made the process of creative growth of choirs, orchestras more focused, organized methodological assistance, etc.

During this period, amateur folk orchestras, instrumental ensembles, and Russian song choirs continued to develop.

It is interesting to note that orchestras of Russian folk instruments continued to be created not only in Russia, but also in many union republics - primarily in Ukraine, in Belarus. During these years, in Lithuania, in addition to orchestras of national instruments, there were 11 orchestras of Russian folk instruments.

Competitions, festivals, reviews held in the 60s on the scale of both the country and the republics, territories, regions and districts played an important role in improving amateur art, improving the skills of participants, mastering a new repertoire, and developing various genres.

In 1963 - 1965 in all the republics, competitions of rural amateur performances were held. More than 3 million people took part in them. About 5,000 choirs, orchestras, drama clubs and groups of other genres were awarded various awards. Rural folk and academic choirs, folk and brass bands actively declared themselves, the first family musical ensembles appeared on the stage.

Propaganda teams, folk theaters, choirs and groups, orchestras and instrumental ensembles, dance groups, amateur composers, poets, amateur filmmakers took part in the review. In the course of the review, more than 13,000 rural circles were again organized in the RSFSR. This All-Russian review of rural Kh.S. 1963 - 1965, which ended with a concert in the Kremlin Palace of Congresses, intensified the activities of rural amateur groups, raised the ideological and artistic level of creativity, and involved new layers of the working masses in amateur performances.

After the completion of the review of rural amateur performances, summing up its results in 1966 - 1967. The All-Union Amateur Art Festival was held, dedicated to the 50th anniversary of the Great October Socialist Revolution. It was one of the most massive and representative events in the history of folk art: the participants were invited to create performances on modern and heroic themes.

The All-Union Festival of Amateur Arts was held jointly by the State Committee of the Council of Ministers of the USSR for Vocational Education, the Committee on Radio Broadcasting and Television, the Union of Composers of the USSR, the Union of Writers of the USSR, the Union of Artists of the USSR, the Union of Cinematographers of the USSR, theater, dance and choral societies. Including 200 dancers, 46 choreographers, 13 theatres, Moscow and Leningrad concert organizations and the oldest choreographic schools - Leningrad named after Vaganova and Moscow.

The main tasks of the review in the resolution were announced: the further development of amateur art, attracting fresh forces to the ranks of its participants, raising the ideological and artistic level of creativity of the masses, developing all types and genres of amateur art in clubs, houses and palaces of culture, at the place of work and residence, study , service; propaganda by means of art of the world-historical significance of the Great October Socialist Revolution, achievements Soviet people and the peoples of other socialist countries; replenishment of the repertoire with the best works of literature, music, dramaturgy of Soviet and progressive foreign authors; improvement of educational work; strengthening creative ties between mass amateur performances and professional art, systematic assistance to amateur groups from outside creative unions; promotion of the achievements of amateur art among the population, etc.

The task was to attract the creative intelligentsia to participate in the organization and holding of the All-Union Festival. Thousands of professional art workers participated in rehearsals, hosted performances and concert programs of amateur choirs, orchestras, held seminars, creative conferences, etc.

Widespread propaganda of the achievements of folk art was carried out by means of radio, television, and the press. Dozens of amateur art groups from all Union republics made creative reports on Central Television. Even the final concert of the All-Union Festival was broadcast from the Kremlin Palace of Congresses.

The All-Union Organizing Committee, a bureau, a secretariat, a directorate of the festival were created for the direct management of the festival, sections on the arts were formed, as well as a section for holding the festival among schoolchildren. The interdepartmental nature of the event made it possible to strengthen the business community of cultural bodies, creative unions, art institutions, trade union, Komsomol and military organizations.

The All-Union Festival has become a huge political and political event. cultural significance in the life of the country, had a profound influence on the further qualitative and quantitative development of amateur art.

Since the mid-1960s, amateur performances have received further significant development. There were political, student and tourist song clubs.

Many works by amateur authors were included in various repertoire collections, performed by amateur groups. During the All-Russian review of amateur art in 1967, about 500 works created by amateur authors - composers, playwrights, poets - were performed at zonal reviews alone. This amounted to about one third (!) of all performed works.

From May 11 to August 21, 1972, a review competition of amateur song and dance ensembles of the Union republics was held at VDNKh of the USSR, dedicated to the 50th anniversary of the formation of the USSR. The winners of the review competition - teams and individual performers were awarded gold, silver and bronze medals of VDNKh of the USSR, certificates of honor.

For two years, the All-Union Television Festival of Folk Art was held, dedicated to the 50th anniversary of the formation of the USSR. There were 18 TV shows in which more than 12 thousand amateur performers performed. The final concert of the festival took place on November 29, 1972 at the Kremlin Palace of Congresses. More than 500 amateur performers took part in it. The concert was broadcast on the Intervision program. As a result of the festival, 17 musicians from 17 dance groups were awarded with special prizes and awards.

The All-Union jury of the festival was headed by the People's Artist of the USSR S.Ya. Lemeshev. The members of the jury were famous masters musical culture A. Prokoshina, V. Fedoseev, T. Khanum, G. Ots, T. Chaban and others, who simultaneously headed the jury of the television festival in the republics.

By the mid-1970s, there were about 23 million participants in H.S. More than 160 thousand academic and folk choirs, 100 thousand musical groups, orchestras and ensembles, a huge number of circles of other genres worked.

As a result of the measures taken by the state and economic bodies, the material base of the clubs has been significantly strengthened, and their network has grown.

In 1970 there were 134,000 clubs in the country. The number of rural clubs and houses of culture has increased significantly. If by the beginning of the 70s there were a little more than 18 thousand of them, then by the end of 1975 there were 34 thousand. Rural houses of culture carried out significant work on organizing amateur art activities.

Even more favorable conditions began to take shape since 1974 in connection with the centralization of clubs and the creation of cultural complexes. The creation of centralized club systems made it possible to unite all the work around the base clubs, rural houses of culture, whose workers not only led amateur circles in their institution, but also helped the branches.

Houses of folk art, amateur art houses provided various and systematic assistance to amateur art groups and circles of all genres: methodological, organizational and instructor, creative, personnel.

Unreasonable appropriation of the title "folk" to many choirs, orchestras, dance and drama groups was allowed. Many of them did not meet the requirements for folk groups, did not conduct proper creative and educational work.

The second half of the 1970s was marked by major events in the development of folk art. In early 1976, the 25th Congress of the CPSU took place. In the decisions of the congress, the main directions of development of the national economy of the USSR for 1976 - 1980. the task was set to further raise the level of work of cultural and educational institutions, public universities, and to develop the artistic creativity of the masses.

In May - September 1975, a review competition of amateur art groups dedicated to the 30th anniversary of the Victory was held at the VDNKh of the USSR. It was attended by the best teams from the Union republics - the winners of the All-Union Festival of amateur art.

In addition to performances on the open stage of VDNKh of the USSR, groups gave concerts in parks of culture, at enterprises, and in clubs. The winners of the competition were awarded diplomas, and their leaders and soloists - gold, silver and bronze medals and cash prizes.

Particular attention was paid to folk choirs and orchestras, brass bands, folklore groups. During the festival, more than a thousand new brass bands were created.

In the field of instrumental music, a slight increase in the number of amateur orchestras - symphonic, brass, folk, etc. - has become a welcome development. Small instrumental ensembles - quartets, quintets, duets, trios, etc., ensembles of accordion players, bandurists, violinists, komuz players, domrists, mixed compositions, vocal and instrumental groups - have also become widespread. According to the results of the show, the best of the bands were recommended for the final concert in Moscow.

During this period, sponsorship of amateur art activities from professional art was significantly strengthened. This work fell apart, as it were, into two types - artistic and educational and methodological assistance. Theaters, musical groups took patronage over amateur performances of state farms and collective farms. Experienced craftsmen led amateur groups, literary associations, folk theaters.

New forms of cooperation began to take shape. In the second half of the 70s, agreements on direct cooperation were concluded between the Central House of Folk Art named after N.K. Krupskaya (sent partners a significant amount of repertoire and methodological literature, published in the USSR), the Central House of Cultural Work of the GDR and the Center for Amateur Arts of the NRB.

The system of methodological guidance of amateur art activities was reorganized. On the basis of the All-Union House of Folk Art, which has been operating since 1976, in 1978 the All-Union Scientific and Methodological Center for Folk Art and Cultural and Educational Work was established.

In the republics, territories and regions, on the basis of houses of folk art and methodological rooms for cultural and educational work, respectively, republican, regional and regional scientific and methodological centers of folk art and cultural and educational work were organized.

The publishing, personnel, and financial aspects of the activities of the centers have been strengthened. They began to delve more deeply and professionally into the essence of the processes taking place in amateur performances. Many publishing houses, central and republican, have increased the output of works for amateur performances. Publishing houses "Music" and "Soviet composer" began to publish special series to help amateur art.

In the early 1980s, more than 40 serial publications, libraries, collections for amateur performances were published in the country. The all-Union firm "Melody" began the release of albums and individual records for discos, VIA, and other amateur groups.

It is very important that these creative teams and associations work for the formation of healthy cultural needs of people, high civic aesthetic ideals. Because any form of leisure should spiritually enrich a person, promote the creative growth of a person, his self-affirmation and self-expression.

Among the youth, VIA and discos are quite popular. These forms of spending free time especially attract young people. Each of them has undeniable advantages. The VIA genre is a fascinating kind of amateur art, capable of deeply revealing the creative potential of an individual, responding to topical, burning problems of the time.

Time passed, the ensembles matured, the audience changed. The performers have also matured. Higher-quality equipment also appeared, distortions and wheezing that annoyed many disappeared, sound engineers learned how to more accurately build balance at concerts. The programs of most VIAs contain many light, danceable songs. There are many songs dedicated to moral issues, understanding life. This theme was added to the anti-war, social and patriotic, thereby enriching and expanding the genre.

In this regard, the activities of amateur musical groups and their most massive type, pop vocal and instrumental ensembles, should be considered as one of the most effective areas of ideological and aesthetic education of young people. Effective primarily due to the popularity of this type of creativity - we can say that most teenagers go through this hobby. That is why the organizational and creative problems of amateur pop vocal and instrumental ensembles are the subject of close attention cultural bodies, the media and the musical community.

In the disco, young people are attracted by the possibility of unregulated communication, the manifestation of creative imagination, active participation in the action not only of the organizers of the evenings, but also of their visitors.

There are also performances by singers, poets and musicians in the disco.

Disco is creative team, which unites people of various specialties, inclinations, talents based on interest in music and art; center of active ideological propaganda, moral and aesthetic education of youth with the use of effective technical means; an indispensable participant in many events in the city, district, at the enterprise; a creative laboratory in which the synthesis of various genres of art is carried out; a small “institute of sociological research”, where the tastes and needs of young people are studied through questionnaires and surveys. direct dialogue; "design bureau", where a wide variety of technical devices are conceived, designed and manufactured; "an educational and methodological center", in which knowledge is acquired through self-education and in the process of communicating with experienced specialists.

In fact, the members of a disco group - a music lover who prepares a phonogram, and an engineer who assembles a color-music device, a photographer who makes the photo frames necessary for the program, and an engineer who invented automatic control of a slide projector - they all work on the same task: they create their next program, in which their skills and deeds merge together.

Many groups that started their activities as disco dancers gradually turned into disco clubs. At the club, sections of pop and jazz, classical and folk music, amateur songs.

Disco clubs consist of 11 people. These are workers, employees, engineers of the plant. People are enthusiastic, creative, constantly inventing and inventing something.

In the disco movement there is TMT - these are theatrical and musical troupes. Their participants try to synthesize different types of art in a single disco program: theater, cinema, poetry, dance and, of course, music.

This situation of VIA and discos is explained, first of all, by an acute shortage of qualified personnel. Many heads of cultural institutions and organizers of amateur associations lack knowledge, experience and artistic taste. Therefore, the most important thing for further