The pedagogical process as a cultural activity. The structure of the humane pedagogical process.

Classification of collectives of folk art: circles of primary and advanced types, studios, ensembles, associations and clubs of art lovers. Classification of teams by age characteristics of participants (children, youth, mixed, teams of veterans, etc.)

Bases for creating collectives: schools, club associations, centers for children and youth creativity, universities, etc.

The concept of "organization" and "organizational activity", their relationship. The concept of the organizational structure of an amateur team, its infrastructure and macrostructure. A systematic approach to team organization. Taking into account the cultural and historical traditions of the region, real artistic interests and needs of various groups of the population in the process of organizing the collective.

The interrelation of the processes of organization, self-organization and self-management in the amateur collective.

The essence and main stages of the organizational activity of the team leader:

Stage 1 - preparatory: collection and analysis of initial information, identification of potential team members, study of their needs. interests, tastes, motivation to participate in a team and other personal characteristics.

Stage 2 - pedagogical design: development of a model of the future team's activity (goals, objectives, content, forms and methods of the pedagogical process in the team) and a model of its organization.

Stage 3 - project implementation.

Stage 4 - diagnostics of the effectiveness of the pedagogical process in the team (based on the study of the dynamics of the personal qualities of the participants and the analysis of the results and artistic creative activity).

Stage 5 - corrective: making changes to the strategy and tactics of the pedagogical process, taking into account the diagnosis of its effectiveness.

Documentation of the team (the plan of educational work, the repertoire plan, etc.), the reflection in it of the goals and objectives of the pedagogical leadership of the team and the search for ways to implement them.

Topic 3.2. Methods of pedagogical guidance of the artistic and creative process

Artistic and creative activity as the basis of the pedagogical process in an amateur (amateur) collective.

Correlation of the concepts “creativity” and co-creation ”. The main types of artistic and creative activities: the creation and execution of works of art.

Forms of the artistic and creative process: rehearsals, concerts, exhibitions, etc.

Psychological and pedagogical foundations of pedagogical guidance of the artistic and creative process: taking into account age and individual characteristics, as well as personal problems when choosing a repertoire and creative tasks; creation of conditions for creative self-knowledge, self-esteem, self-realization and self-development of participants in the process of their artistic and creative activities. Using the art-therapeutic potential of artistic and creative activity (elements of psychodrama, music therapy, dance therapy, color therapy, fairy tale therapy, etc.) for psychological and pedagogical adaptation, personality correction, prevention of deviant forms of behavior, etc.

The specifics of pedagogical guidance of group forms of artistic and creative activity of a collective, whose members have different levels of artistic training and artistic abilities. The specifics of managing the artistic and creative activities of “special” members of groups: gifted individuals, disabled people, persons with deviant behavior, etc.

Management of interpersonal communication of participants of the count. Diagnostics of the social-psycho-structure of the number, sociometry. Methods for managing interpersonal communication in the number of folk artists. tv-va.

The relevance of the topic lies in the fact that at present many art groups are not able to create a creative atmosphere, as a result of which the groups simply disintegrate, the efforts of teachers are in vain in resolving conflict situations; personality in the conditions of an artistic collective cannot develop due to the emergence of leaders, the reason for which today is social inequality.

The solution to the problems of upbringing and personal development in artistic groups can only be a correct methodological approach of the leader to the individual characteristics of each individual participant, and not the collective as a whole.

In the Soviet Encyclopedic Dictionary, the concept of climate is interpreted from the Greek language as the inclination of the "earth's surface to the sun's rays", a statistically long-term weather regime, one of the main geographical characteristics of a particular area. The main features of the climate are determined by the influx of solar radiation, the processes of circulation of air masses, and the nature of the underlying surface. Of the geographical factors affecting the climate of a particular region, the most significant are the latitude and altitude of the area, its proximity to the sea coast, the peculiarities of the orography and vegetation cover, the presence of snow and ice, and the degree of atmospheric pollution. These factors complicate the latitudinal zoning of the climate and contribute to its local variants.

In the same dictionary, the concept of atmosphere is understood as the air around the Earth, rotating with it. Depending on the temperature distribution, the Earth's atmosphere is subdivided into the troposphere, stratosphere, mesosphere, thermosphere, exosphere. The Earth's atmosphere has an electric field. The unevenness of its heating contributes to the general circulation of the atmosphere, which affects the weather and climate of the Earth. It follows that the atmosphere and climate are interdependent.

In pedagogy and psychology, there is a scientific interpretation of the concept of climate, but with a different content of this term. In theatrical activity, it is customary to use the concept of atmosphere, in this case, these two concepts, regardless of the similar name, are filled with a different content - not of a physical order, but of a spiritual one. Just as climate and atmosphere are inextricably linked in nature, so the socio-psychological climate is inextricably linked with theatrical atmosphere.

Many typologies of the socio-psychological climate are very static, they record only its individual states and do not explain how these states permanently replace each other. With the development of the group, the zone of the socio-psychological climate in it also expands, its structure becomes more complex.

Since the zone of mutual overlap of the objective and subjective spheres changes on a continuum from 0 to 1, it makes sense to talk about certain stages, phases of development of the socio-psychological climate of a group or organization.

A parallel can be drawn between the “theatrical atmosphere” and the socio-psychological climate. the general "mood" of the situation, its psychological content, arises from the emotional attitude to the situation, what is happening, to others in general, all this is the atmosphere.

Life is full of atmospheres, we do not live in empty space, - said Mikhail Chekhov.

The atmosphere is associated with the subjective feelings of a person, a personal feeling can be associated with the atmosphere, or alien to it. The actor who retained (or re-acquired) a sense of the atmosphere knows very well what an inextricable connection is established between him and the viewer if they are covered by the same atmosphere. In it, the viewer himself begins to play along with the actor. He sends him waves of sympathy, trust and love through the ramp. The viewer could not have done this without the atmosphere coming from the stage. Without her, he would have remained in the realm of reason, always cold, always alienating, no matter how subtle his assessment of the technique and skill of the actor's acting may be. It is worth remembering how often an actor has to resort to all sorts of tricks in the hope of attracting the attention of the public. The spectacle arises from the interaction of the actor and the spectator. If a director, actor, author, artist (and often a musician) have created the atmosphere of a performance for the viewer, he cannot but participate in it.

Is it worth noticing how movements, speech, demeanor, thoughts, feelings, moods involuntarily change, falling into a strong, captivating atmosphere? So in life and on stage. Each performance, surrendering to the atmosphere, you can enjoy new details in the game. There is no need to fearfully cling to the techniques of past performances or resort to clichés. The space, the air around, filled with atmosphere, support a lively creative activity. It is easy to verify this by doing a simple experiment in imagination.

Imagine a scene known from literature or history. Let it be, for example, the Bastille scene. Imagine the moment when a crowd breaks into one of the prison cells and frees a prisoner. Look at the characters and types of men and women. Let this scene created by the imagination appear as bright as possible. Then let's say: the crowd acts under the influence of an atmosphere of extreme excitement, intoxication with strength and power. All together and each individually are embraced by this atmosphere.

You should peer into the faces, movements, groupings of figures, the pace of what is happening, listen to the cries, the timbres of the voices, peer into the details of the scene, and you can see how everything that happens will bear the imprint of the atmosphere, how it will dictate its actions to the crowd. Change the atmosphere a little and watch the “performance” again. Suppose the former excited atmosphere takes on the character of spiteful and vindictive, it will be seen how it will be reflected in the movement, actions, looks and shouts of the crowd. Change it again. Let the pride, dignity, solemnity of the moment embrace the participants in the scene, and it will be seen how the figures, poses, groupings, voices and facial expressions in the crowd will change by themselves.

What has been done in the imagination, as an actor, can be done on stage, using the atmosphere as a source of inspiration.

The role of the director, as a leader in the formation (atmosphere) of the socio-psychological climate in the theatrical collective, is directly related to pedagogical activity, since the interpersonal relationships of communication and role relationships of activity in their organic socio-personalistic synthesis are not spontaneous, not spontaneous, but a regulated, controlled process of the relationship of individuals with the social environment.

In social psychology, the regulation of individual relationships is considered in two aspects: 1) associated with management in formalized social structures - leadership and 2) associated with management in informal structures - leadership.

Leadership expresses the historical need of people to organize their joint activities. There is no person, - said Socrates, - who would not consider himself wiser in some way than others, and in some other way wiser than himself. And in the greatest dangers, when people are in poverty in war, from disease or on the high seas, as in the gods they rely on the ruler in each of these affairs, honoring them as their saviors, who stand out for nothing more than their knowledge. And our entire human world is full of the fact that, on the one hand, some are looking for teachers and leaders for themselves and other beings, as well as their deeds, while others consider themselves capable of either teaching or leading.

The leader certainly acts as an organizer. Organizer is a center for receiving, processing, transforming and generalizing multilateral information coming to it from an object that determines the overall goal of an activity, from the conditions for its implementation (material resources, time, place, circumstances), from the organized, from the results of activities, from interacting neighbors, but psychological information is especially important for organizational activity.

The overwhelming majority of the group is made up of individuals, whose type can be called the "norm", i.e. most of all corresponds to the norms, values and ideas prevailing in this social association. Within this norm, there are members who are accepted or rejected by others.

Preferred members are members who are chosen more often than not. The persons on whom the most choices fall are called stars. At the same time, a certain part of the unprecedented appears in the group, who receive little or no choice. Usually these are people who deviate from the norms and values accepted in this group. The stars and those close to them in terms of the number of elections make up the contingent from which the leader appears in a given situation.

Leadership is one of the processes of organizing and managing a small group that satisfies the need for group activity, contributes to the achievement of group goals in the optimal time frame and with the optimal result, ultimately determined by its content by the prevailing social relations in society.

Leadership as a socio-psychological problem is a phenomenon that exists in all human societies. It was of paramount importance in the early stages of human society. As a structural link in a group organization, leadership is inherent not only to people, in the animal world it is based on the superiority of the leader in strength, dexterity, acuity of the senses, etc. Its main principle is the principle of superiority. The leader must certainly be superior to the rest of the group in some way (mentally, morally, in strength, etc.). Being in its origin a common human social and psychological phenomenon, leadership has historically been the forerunner of official leadership.

There is no group without leadership. Leadership is the core process of organizing group behavior. Emerging at the time of the formation of group goals, leadership focuses in itself the relationship between the members of the small group.

It can be viewed as a kind of special subsystem of interpersonal relationships, and the leader himself - as the focus of these relationships.

Leadership is caused not only by the need of members of a small group to regulate joint activities and communication, but, in addition, by the willingness of a member of the group to become its leader. The role of a leader in a small group of positive and negative incentives that are used in it.

So, within the framework of the formal structure, the leader treats the group member as a "means of production", as a tool used to achieve the goals of the organization, and in relation to himself, as an official, to perform the function of this soulless tool. But this is only one side of the leader's activity. The leader should treat a member of the group only as a person, take into account his individual characteristics, delve into his problems and, if possible, help to resolve them.

Between these functions, which complement each other, there is always a certain internal antagonism. It finds its full resolution only in a strictly balanced management system, when the performance of these functions is assigned to leaders who solve the same goals of the organization from diametrically opposite positions, realizing in practice the requirements of the notorious "principle of complementarity." So in a traditional family, in raising a child, the mother mainly performs personal, and the father - instrumental functions. The separation of functions allows for a more holistic implementation of the management process to achieve the goals of the organization, taking into account the personal interests of its members.

In practice, both of these functions do not always receive the same development, depending on how they really relate to each other.

Parenting method(from the Greek. "methodos" path) is the way to achieve a given goal of education. With regard to school: practice, we can also say that methods are ways of influencing the inquiry, will, feelings, behavior of pupils in order to develop in them the qualities set for the upbringing.

The methods and techniques of the director's educational work with the theatrical collective are directly related to pedagogical activity. The level corresponds to the result of education achieved at the moment. A new goal is set, the achievement of which brings the pupil to a new, higher level of education. The process of transferring an actor from a lower level to a higher one is called the upbringing process. Parenting goals can be achieved in a variety of ways. How many are there in total? In principle, as much as the leader can find, cooperating with his pupils, relying on their strengths, capabilities and desires. Undoubtedly, some paths can lead to the goal faster than others. The practice of upbringing uses, first of all, the ways that educators who lived before us led their students. These paths are called general parenting methods.

However, in many cases, general methods of upbringing may turn out to be ineffective, therefore, the director is always faced with the task of finding new unexplored paths that best suit the specific conditions of upbringing, allow them to achieve the intended result faster and with less effort. The design, selection and correct application of educational methods is the pinnacle of the director's pedagogical professionalism. It is very difficult to find the right paths that best suit the conditions of a particular upbringing process.

However, no director can create a fundamentally new method of education. The task of improving the methods is constantly faced, and each director, to the best of his strength and capabilities, solves it, introducing his own particular changes, additions to the development of general methods, corresponding to the specific conditions of the educational process. Such private improvement of methods are called methods of education. Reception education

Part of a general method, a separate action (impact), a specific improvement. Figuratively speaking, techniques are uncharted paths that the director blazes with his actors in order to reach the goal faster. If other directors begin to use them, then gradually the techniques can turn into wide pole paths - methods. Knowledge of the methods and techniques of education, the ability to apply them correctly in work with theatrical collective is one of the most important characteristics of the level of the director's pedagogical skill.

A technique is understood as a single effect, and a means is a set of techniques. A means is no longer a technique, but not yet a method.

For example, labor is a means of education, but showing, evaluating labor, pointing out a mistake in work are techniques. The word (in a broad sense) is a means of education, but a replica, an ironic remark, comparison are techniques. In this regard, sometimes the method of upbringing is defined as a system of methods and means used to achieve the set goal, since in the structure of the method there are methods and means necessarily.

There are no good or bad methods, no way of education can be declared effective or ineffective in advance without taking into account the conditions in which it is applied.

A time-tested, experimental way of solving problems, based on pedagogical flair, intuition, deep knowledge of the characteristics of methods and causes that cause certain consequences. The director who took into account the specific conditions better, used the pedagogical action adequate to them and foresaw its consequences, will always achieve higher educational results. The choice of methods of education is a high art.

Consider the general conditions that determine the choice of methods of education, which are also specific to the art of directing.

General conditions in the choice of methods for raising a director:

1. Individual and personal characteristics of the actors.

2. The conditions of upbringing and the relationships that develop in the team, the style of pedagogical leadership, etc. As you know, abstract conditions do not exist, they are always specific. Their combination gives rise to specific circumstances. The circumstances in which upbringing takes place are called pedagogical situations in director's work.

3. The level of teaching qualifications.

4. Upbringing time.

5. Expected consequences.

Rules for choosing methods of education.

The general principle of choosing the methods of education is the attitude of the director to the actor. Methods of education in the light of a humanistic approach are not a set of purely professional tools in the hands of directors who are indifferent to the fate of their actors. The method requires elasticity, flexibility, even tenderness - these qualities are given to it by the director. The general conditions for the choice of methods considered above determine large dependences, meanwhile, in the educational process, many subtle nuances have to be taken into account.

Any reasonable and prepared action of the director must be brought to an end, the method requires a logical conclusion. It is important to follow this rule because only in this case the actors acquire the useful habit of bringing the matter to the end, and the director strengthens his authority as the organizer.

The method does not tolerate a pattern in its application. Therefore, the director must each time look for the most effective means that meet these conditions, introduce new techniques. For this it is necessary to penetrate deeply into the essence of the educational situation, which generates the need for a certain influence.

The choice of method depends on the style of the pedagogical relationship. In a friendly relationship, one method will be effective, in a neutral or negative relationship, you have to choose other ways of interaction.

When designing methods of education, it is necessary to foresee the mental state of the members of the creative team, the time when the methods will be applied. By their nature, the methods of education are divided into persuasion, exercise, encouragement and punishment (NI Boldyrev, NK Goncharov, FF Korolev, etc.). In this case, the general feature "the nature of the method" includes the direction, applicability, peculiarity and some other aspects of the methods. This classification is closely related to another system of general methods of education, which interprets the nature of the methods in a more generalized way (T. A. Ilyina, I. T. Ogorodnikov). It includes methods of persuasion, organizing activities, stimulating the behavior of actors.

In the classification of I. S. Marienko, such groups of upbringing methods as explanatory-reproductive, problem-situational, methods of training and exercise, stimulation, inhibition, leadership, and self-education are named.

According to the results, the methods of influencing the actor can be divided into two classes:

1. Influences that create moral attitudes, motives, attitudes that form perceptions, concepts, ideas.

2. Habit-creating influences that define one type or another.

The director must fully master all the methods and techniques of educational influence on the theatrical collective, not only as a stage director, but also as a director-teacher.

Thus, the director undoubtedly influences the creation of a special atmosphere in the theatrical collective.

Ideally, the creation of a creative team is the creation of a union of like-minded people. But in practice, this problem presents enormous difficulties, since each director has before him differently creatively and methodologically educated people. Usually they are divided into gifted, less gifted, and completely untalented. This is perhaps the only criterion for the selection of actors.

Solving these problems will allow the leaders of art groups to achieve high results, developing in each member of the group an aesthetic worldview and a humane attitude towards reality.

During the creative season (September to May), amateur art collectives must submit:

Genre name creative team	Performance indicators
Theatrical	At least 1 one-act performance or 4 numbers (miniatures); At least 4 numbers (miniatures) for participation in concerts and performances of the basic cultural institution; Annual renewal of the repertoire;
Choral, vocal	Concert program (lasting at least 60 minutes); Performances at other venues at least 1 time per quarter
Instrumental	Concert program ; At least 6 numbers for participation in concerts and performances of the basic cultural institution; Annual update of at least 4 parts of the current repertoire; Performances at other venues at least 1 time per quarter
Choreographic	Concert program (not less than 60 minutes long); At least 6 numbers for participation in concerts and performances of the basic cultural institution; Annual program update of at least 1 mass production or at least 4 solo (duet, ensemble) performances Performances at other venues at least 1 time per quarter
Circus	Concert program (not less than 60 minutes long); At least 6 numbers for participation in concerts and performances of the basic cultural institution; Annual update of at least 3 numbers of the repertoire; Performances at other venues at least 1 time per quarter
Fine and decorative arts	At least 2 exhibitions per year
Photography	At least 2 exhibitions per year
Cinema and video arts	1 short film

For newly created collectives during the first 2 years of existence, minimum standards can be established. During the creative season, they must submit:

In its activities, the team is guided by:

The current legislation of the Russian Federation;

The Charter of the basic cultural and leisure institution;

The work plan of the basic cultural and leisure institution;

Regulations on your team and (if necessary) an Agreement with the head of the base institution.

The regulations on a specific team are developed on the basis of the charter of the cultural and leisure institution and approved by the head of the basic cultural and leisure institution.

Teaching and educational work in teams is determined by plans and programs and should include:

· In all teams- acquaintance with the history of arts, the processes taking place in amateur folk art, development trends of its individual types and genres; discussion of issues related to the formation of the repertoire.

For educational purposes, the members of the collectives visit museums, exhibitions, theaters, concerts, etc.

· In collectives of theatrical art(drama, musical and drama groups, puppet theaters, young spectators, small theaters - stage theaters, poetry, miniatures, pantomimes, etc.) -
classes in acting, speech technique and artistic word, musical literacy, voice production; learning vocal parts; work with a director, playwright, composer, accompanist; work on a miniature, a thematic program, literary or literary-musical composition, prose, poetic work or a cycle of poems.

· In collectives of musical art(choirs, vocal ensembles, folk song ensembles, song and dance ensembles, orchestras of folk instruments, pop and brass bands, vocal and instrumental ensembles, musicians, singers) - classes in the study of musical literacy, solfeggio, history and theory of music, choral art, voice production; 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; learning solo, group dances, choreographic miniatures; learning to play musical instruments; familiarization with the initial principles of instrumentation for musical ensembles, conducting orchestral lessons to learn parts.

· In collectives of choreographic art(folk, classical, pop, sports, modern, ethnographic and ballroom dancing) - classes on the study of the history and theory of choreography; classic and characteristic training; learning solo and group dances, choreographic miniatures, compositions, dance suites, plot performances.

· In collectives of circus art(circus, performers of the original genre) - classes on the study of the history of circus art; training and physical development; technique of circus art, musical and artistic design, director's decision of the number.

· In collectives of fine and decorative and applied arts- classes on the study of the history of fine and decorative arts; technique and technology of painting, graphics, sculpture and applied arts - carving, chasing, inlaying, artistic embroidery, beading, etc .; compositions; execution of tasks of an artistic and design nature; organization of exhibitions, work in the open air.

In collectives of photo, film, video art- classes on the study of the history of cinema and photography; material part; cinematography, video and photography techniques; directorial, cinematography, screenwriting skills; organizing views, analyzes and discussions of amateur films and photographs; methods of organizing photo exhibitions, watching movies and videos, performing design work (with amateur photographers); creation of films of various subjects

WORKING PROGRAMM

Discipline: Methods of working with a creative team

Specialty: 071302 Social and cultural activities and folk art

Educational level of secondary vocational education: basic

Syktyvkar 2009

Compiled in accordance with state requirements for a minimum content and level of training of a graduate in specialty 071302 "Social and cultural activities and folk art"

Deputy director for educational

work of V. S. Morozov

Approved by subject (cyclic)

the general professional

disciplines and librarianship

N.F. Guseva

Reviewers:

GI Kuznetsova, Director of the GURK "Educational and Methodological Center for the Training and Retraining of Culture and Art Personnel".

Gnedykh N.M., teacher of the Komi Republican College of Culture named after V.T. Chistalev.

EXPLANATORY NOTE

This program is intended for students studying in all specializations of the specialty "Social and cultural activities and folk art". Studied in the second year of study for one semester. At the end of the semester, an intermediate certification is held - an exam. According to the final state certification, the discipline questions are included in the final interdisciplinary exam in the specialty.

The program was developed taking into account interdisciplinary connections with other disciplines that study individual modules that make up the concept of "methods of working with a creative team." The program used materials from the collection of programs "Folk Art", developed by T.I. Baklanova.

The purpose of the course is to form a holistic system of conceptual, methodological and theoretical knowledge in the field of methods of working with a creative team in students.

In accordance with the state educational standard, a future specialist should know:

Essence, functions and main tasks of leisure creative activity.
The technology of creating a creative team.
Organization principles and methods of working with a creative team.
Psychological and pedagogical features of the formation of the repertoire.
Methodology for preparing stage performances.
To be able to independently create a creative team and organize the pedagogical process in it.

Mastering the course involves a combination of lectures, seminars and practical lessons. An obligatory didactic component is extracurricular independent work on the problems of the course. The implementation of the national regional component is carried out through the use of the experience of practical activities of professional and amateur groups of the Komi Republic.

Thematic outline of the course

Specializations: "Theatrical creativity (puppet theater)"; "Theatrical creativity"; "Folk Choral Art"; "Choreographic creativity" - on the basis of Basic General Education

P / p No.	Names of sections and topics	Number of hours
		Max.	Samost.	Theorist.
semester	Introductory topic
Section 1.		14,5
Topic 1.1.
Topic 1.2.
Topic 1.3.
Topic 1.4.
Section 2.
Topic 2.1.
Topic 2.2.
Topic 2.3.
Topic 2.4.
Topic 2.5.
	TOTAL:

Thematic outline of the course

Specializations: "Staging of theatrical performances"; "Folk Choral Art"; "Choreographic creativity" - on the basis of Secondary (complete) general education

P / p No.	Names of sections and topics	Number of hours
		Max.	Samost.	Theorist.
semester	Introductory topic
Section 1.	Organizational foundations of the work of amateur groups.	14,5
Topic 1.1.	Features and trends of modern development of amateur art
Topic 1.2.	The concept of "collective". Features of the functioning of amateur art groups.
Topic 1.3.	Team leader. Requirements for the professiogram.
Topic 1.4.	The identity of the team member. Diagnostic methods.
Section 2.	Leadership of the pedagogical process in a creative team
Topic 2.1.	The essence and structure of the pedagogical process in the amateur team.
Topic 2.2.	Technology for the development of pedagogical programs for creative teams.
Topic 2.3.	Forms of work in a creative team.
Topic 2.4.	Management of artistic and creative activities.
Topic 2.5.	Organization of performances by creative teams.
	TOTAL:

Thematic outline of the course

Specializations: "Theatrical creativity (puppet theater)"; "Theatrical creativity"; "Decorative and applied art" - on the basis of Secondary (complete) general education

P / p No.	Names of sections and topics	Number of hours
		Max.	Samost.	Practice.
semester	Introductory topic
Section 1.	Organizational foundations of the work of amateur groups.	14,5
Topic 1.1.	Features and trends of modern development of amateur art
Topic 1.2.	The concept of "collective". Features of the functioning of amateur art groups.
Topic 1.3.	Team leader. Requirements for the professiogram.
Topic 1.4.	The identity of the team member. Diagnostic methods.
Section 2.	Leadership of the pedagogical process in a creative team
Topic 2.1.	The essence and structure of the pedagogical process in the amateur team.
Topic 2.2.	Technology for the development of pedagogical programs for creative teams.
Topic 2.3.	Forms of work in a creative team.
Topic 2.4.	Management of artistic and creative activities.
Topic 2.5.	Organization of performances by creative teams.
	TOTAL:

MAIN COURSE CONTENT

Introductory topic

Goals and objectives of the course. The focus of the course is on the training of a specialist who has mastered the system of basic knowledge on the method of working with amateur groups of different orientations, as well as on the sources and channels of scientific information about this research object.

The role and place of the course in the system of training students in the specialty 071302 (0518) "Social and cultural activities and folk art". Course structure. Name and main content of sections and topics of the program.

The essence of an interdisciplinary approach to the study of methodological issues. The relationship of the course with other general professional and special educational disciplines.

Methods of studying the course. Forms of intermediate and final control of students' knowledge.

Independent work: Find a definition of terms and fill out a mini-dictionary of the head of the creative team. Terms: technique, method, creativity, amateur performance, artistic activity, group, collective, interest club, circle, studio, ensemble, teacher, pedagogical tact, pedagogical skill, lesson, goal, repertoire, rehearsal, concert, show, competition, festival ...

SECTION 1. ORGANIZATIONAL BASIS OF THE WORK OF INDEPENDENT TEAMS.

Requirements for knowledge and skills:

The student should know:

Conceptual and terminological apparatus of the subject "Methods of working with a creative team."
Normative legal documents for the organization of amateur groups.
Methodology for working with a creative team.
Methods for diagnosing motives and expectations of members of amateur collectives.
Requirements for the professiogram of a modern head of a creative team.

The student should be able to:

Explain the essence of the basic concepts of the subject "Methods of working with a creative team."
To independently create and organize the activities of an amateur collective.
use diagnostic methods for members of the creative team.

TOPIC 1.1. Features and trends of modern development of amateur art.

Objective and subjective factors that determine the specifics of modern amateur art: socio-political situation; development of a telecommunications network; an increase in the level of well-being of people; raising the educational level of the subjects; improvement of the system of training and retraining of personnel of culture and art.

Features of the functioning of amateur groups in the modern socio-cultural situation: an increase in the social role and social significance of amateur creativity; strengthening of influence on the sphere of spiritual and practical development of the world by man; increasing the educational social and pedagogical role of amateur creativity on the formation of the participant's personality; tendencies towards the formation of new forms of organizing amateur creativity.

Legal and regulatory framework for the organization of artistic and creative activities.

The essence and main stages of the manager's organizational activity in the process of creating a team: collection and analysis of initial information, organizational and pedagogical design, project implementation, assessment of the effectiveness of the team. Taking into account in the process of organizing the collective of the national-cultural and cultural-historical traditions of the region, the real artistic interests and needs of various groups of the population.

The relationship between the processes of organization and self-organization, management and self-government in an amateur team.

Problematic questions for self-preparation of students:

Do you need "amateur performance" today?
Should a modern creative team perform ideological, artistic and social and educational tasks, or are classes in amateur collectives needed mainly as a form of creative self-expression of the participant?
Is it legitimate to seek from the participants elementary stage, musical, choreographic literacy if they came to the team to have a rest?

What is more important in creative teams: the process of training or the result?

As you understand the expression "Art belongs to the people." Who is the author of this thesis?

TOPIC 1.2. The concept of "collective", features of amateur art groups.

The concept of "collective", its relationship with the concept of "group of people". Signs of groups of amateur creativity: voluntariness of the subject; spiritual motivation; changing the subject towards a greater comprehensiveness of his interests, needs, abilities; own activity and initiative of the composition; cooperative activity.

Approaches to the classification of amateur art groups: performing groups (circles, studios, ensembles of all types and genres); groups of authors (studios); amateur associations.

Types of artistic and creative organizations: educational, creative, communicative, complex.

Forms of creative organizations: circles, studios, ensembles, amateur associations, etc.

Bases for creating amateur groups: club institutions; schools; centers for children and youth creativity; universities, etc.

Independent work:

EXERCISE:

Draw up a "passport" for one of the amateur art groups.
Fill in the table: features of the functioning of teams with an educational component and clubs of interest.

TOPIC 1.3. Team leader. Requirements for the professiogram.

Professiogram of the head of the creative team. Characteristics of the block of qualities: professional skill, social and psychological requirements, artistic and creative functions of the leader, organizational skills.

Pedagogical tact, pedagogical skill.

Independent work:

Draw up a "creative portrait" of one of the most successful leaders of the art group.
"To assess" on a five-point scale the compliance of the requirements for the skills and abilities of the graduate of the specialization of the college of culture at this stage of vocational training.
Make a crossword puzzle

Regional House of Folk Art

"Planning educational and creative

work and repertoire formation

However, productions representing contemporary choreography are most often a mixture of styles. The reasons lie in the lack of teachers who know the new dance styles well.

The staged work, as it were, sums up the entire activity of the team, showing how well it is organized, whether its method is correct.

The indicators of the quality of the work of the creative team are the stability of its composition, participation in reviews and competitions of creative skills, a positive assessment of the activities by the public (publications in the media, letters of thanks, applications for concerts from organizations.

Information for team leaders

For creative successes and social activities to popularize traditional folk culture, participants and leaders of folk art collectives can be nominated for various types of encouragement, namely: diploma, badge of honor, the title of "Honored Worker of Culture". For the successes achieved in various genres of creativity, club formations of an artistic orientation can be nominated for the title of "folk (exemplary) amateur collective" 3.

Conclusion

The above organizational, creative and educational work is obligatory for any choreographic collective. If at least one of the points is missing, for example, the general educational activity of students, then in this case we can say that the team has not yet formed. In order to create a team, the teacher must keep in mind all of its characteristics. In addition, he needs to pedagogically correctly organize the educational and creative life of the dance group.

The educational, creative and educational work of the team serves as the basis for its existence, and therefore, the implementation of a broad formation of the participant's personality.

The specificity of educational work in an amateur choreographic collective consists in an organic combination of artistic, performing, general pedagogical and socio-psychological moments.

List of used literature

, Kvetnaya children to dance: a tutorial. M .: Vlados. 2003. Purtova on the amateur stage, Moscow, GRDNT, 2006. Gromov as a teacher-choreographer in a children's choreographic collective // Fundamentals of training choreographers / Choreographic pedagogy: textbook. SPb .: SPbGUP, 2006. "Educational work in an amateur team." Moscow, "Education", 1984 Ivleva pedagogical leadership of an amateur choreographic group. - Chelyabinsk, 2004 Tarasov dance. 3rd ed. - SPb .: Publishing house "Lan". - 2005 Guidelines for organizing the activities of cultural and leisure institutions in addressing issues of creating conditions for the development of local traditional folk art in the Rostov region. Rostov-on-Don, 2006 Methodological recommendations on the organization of educational and creative process in groups of amateur folk art, DGTs NT, Rostov-on-Don, 1997

Ministry of Education and Science of the Russian Federation

GOU VPO Khakass State University named after N.F. Katanova "

Institute of arts

College of Music

Socio-cultural activities and folk art

SD. 03. Methods of working with a creative team

Electronic educational-methodical complex for the discipline

Lecture notes

(as a manuscript)

Creative team. The principles of organizing a creative team.

A collective of amateur performances can be defined as an organized form of pedagogical, artistic, technological and performing activities that implements a set of norms and values in accordance with the functions and positions of joint activities of the leader and participants, ensuring the successful fulfillment of the tasks assigned to them.

Pedagogical activities include training, education and upbringing of the participants. If the training is focused on ensuring that the participants master the theoretical knowledge and practical skills of working with works of art and their execution, then education is aimed at broadening the horizons in the field of culture and art, social life in general, and education is aimed at the formation of moral, aesthetic, artistic and physical qualities of the participants. The concept of artistic technologies includes the goals of the task of working on works of art, artistic means and actions to transform this material into a stage work. As well as the forms of organization, leadership and management of this activity. Performing activities are diverse. It includes performances, concerts, holidays. Festivals, performances at various cultural and leisure events (leisure evenings, themed evenings, music lounges, lecture halls, etc.)

Amateur groups do not arise as a result of volitional decisions, administrative orders. The task of the organizers of folk art is to consciously, skillfully form and develop a system of amateur creative formations, taking into account objective and subjective factors.

The principles are the norms for the implementation of a process, the main starting points, in our case, of the organization of the creative team.

The most important starting point for the formation of a team is taking into account today's and future social needs. Before organizing a team, the organizer must carefully study the real needs of people of all social categories and ages. Assess and select them from the point of view of the goals and objectives of the leisure institution.

It is no less important to take into account the material possibilities for creating a new creative team. Weak material base or the absence of a professional leader can hinder.

The guiding principle is correct goal setting. A clear, well-grounded goal is the first condition for the viability of an amateur team. An important task is to link the interests, goals of each participant with the goals of the team. If this task is solved, then in the team the possibility of conflicts is sharply reduced.

When forming a creative team, it is necessary to implement the principle of activity: the leader must be able to activate the creative potential of the participants, concentrate and develop it in the right direction. The principle of an individual approach is also important. Depending on the abilities, individual inclinations and properties of the participants, the method of working with the creative team is determined. This presupposes knowledge by the leader of the mental, physical, artistic and creative properties of each student.

Of all the ways people are organized, it is the team that provides the highest performance, the best opportunities for personal development. In order to consciously and systematically direct the development of creative formation, its transformation into a collective, one should firmly know the qualitative characteristics of the collective and the stages of its development. The main quality of the team is highly developed intragroup relations and diverse ties of the team with society. The integrity of the team is due to the unity of aspirations, strong teamwork skills, developed and friendly interpersonal relationships, psychological, intellectual, emotional unity.

For an accelerated and fruitful process of turning amateurs' association into a full-fledged team, the following points must be observed.

1. Formation of a common goal. At first, pay special attention to any manifestations of cooperation, coordinate your desires and aspirations with the circle members.

2. Development of motives for participation in the creative process. Favorable factors are: conscious motivation, the desire to communicate with members of the circle, the desire to promote a favorite pastime, to improve the reputation of the team.

3. Deliberately created situations of "leadership tests" accelerate mutual recognition, help the formation of the structure of informal relations.

4. Collective action is built on mutual respect and interest in the members of the collective, where common achievement is seen as the highest goal.