Folk art groups. Folk art is the oldest layer of artistic culture. Currently it exists in various manifestations.

Firstly, this is folk art itself 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-industrial complexes based on ancient artistic crafts, the Northern Russian Folk Choir and other performing ensembles and groups that develop national and local artistic traditions. Each of these professional organizations is to varying degrees connected with a truly popular basis: in some cases one can see careful adherence to the traditions of the past, in others - free processing folk motifs.

A form of folk art is also amateur performance, focused on artistic folk culture. In different republics and regions, amateur performances played a different role in the preservation and development of folk art forms. Thus, in the Caucasus and Central Asia, amateur activity, inheriting national traditions, is very developed and close to its original principle. In some regions of Central Russia, attention to folk art was weakened. The trend of mastering urban culture here often led to the fact that even in rural amateur performances forms of development of professional art (academic choir, theater, etc.) were copied. The amateur activities of the “people's plan” often turned out to be eclectic.

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

Amateur performances of a national nature are a multifaceted phenomenon. Sometimes folklore itself is heard on the club stage. This happens when a folk singer, storyteller, or a group of women who still remember folk songs are invited to perform in front of the public. Attracting public attention to the work of folk artists is an important task of clubs, especially in areas where young people are one-sidedly focused on urban culture and treats locals without due respect artistic traditions.

However, simply transferring folklore to the stage does not solve the problem. Often folklore numbers performed in concert are not perceived by the public. In order for the folklore material to be understood by the audience, and for the performers to feel as natural as possible, it is necessary to carry out certain work, both with the audience and with the circle members. Thematic evenings should be dedicated to folklore, which can be structured as a live conversation between the host (naturally, an expert in local artistic culture) and the performers. It’s even better if gatherings, weddings, and celebrations are recreated at a meeting with the audience. Here, of course, we need a director who knows the relevant ritual well. This is not necessarily a professional. Directing can be entrusted to a recognized craftsman: among folklore performers there are always their own “ringleaders”, their own authorities.

Another type of amateur activity focused on folk art is amateur activity that sets itself the task of recreating folklore works. Participants in such groups are not initially masters or experts in folk art, but want to master it. A necessary element of work and study is ethnographic research, expeditions, meetings with folklore experts in their natural environment.

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, modernization, and adapt it to life on the stage. These include folk dance ensembles, where dances are choreographed by club choreographers based on elements of folk choreography, and folk instrument orchestras that perform arrangements of folk melodies, and vocal pop groups that are influenced by professional vocal-instrumental folkstyle ensembles.

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

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

MUNICIPAL AUTONOMOUS EDUCATIONAL INSTITUTION OF ADDITIONAL EDUCATION

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

city ​​of SALEKHARD

COLLECTIVE: CLASSIFICATION OF FOLK ARTS COLLECTIVES

Methodological development

Predeina E.G.

teacher of choreographic disciplines

Salekhard, 2017

Content

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

Chapter I …………………………………..6

1.1 The concept of a folk collective artistic creativity…………....6

1.2Main tasks and organization of activities of artistic groups folk art…………………………………….7

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

1.4 Content of activities in a 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 “People's Collective”; procedure for confirmation and procedure for removing rank……………………………...25

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

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

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

References …………………………………………............................38

Appendix 1 …………………………………………………………………...40

Introduction

Among current problems theories and methods of amateur performances, problems of the essence of the collective as a qualitatively independent and specific phenomenon of leisure acquire paramount importance. After all, in the end, no matter what aspect we take of the training, education and development of participants through the means of art and folk art, they are all directly related to the team and the peculiarities of the organization of its activities.

The folk art group is the basis for students’ accumulation of social experience. Only in a team is its development planned and directed by professional teachers.The processes of personal and collective development are inextricably linked with each other. Personal development depends on the development of the team, the structure of the business and interpersonal relationships. On the other hand, the activity of pupils, the level of their physical and mental development, their capabilities and abilities determine the educational power and influence of the team.

Object of study is folk art.

Subject of research is a folk art group, a classification of groups.

Purpose work is to consider the folk art group as a pedagogical phenomenon.

Job Objectives :

Consider the concept of a folk art group;

Consider the organization of activities of folk art groups;

Determine the basis for classifying teams;

Show main parameters"folk collective".

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

V. S. Tsukerman was interested in the problems of the team. In his manual “People’s artistic culture under socialist conditions”, he examines the characteristics of an amateur artistic collective, 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 a targeted 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 “folk” amateur collective of the Chelyabinsk and Sverdlovsk regions.

The study was not without reference to encyclopedic sources: in particular, 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 a folk art collective, its essence, characteristics and tasks.

Chapter II examines the concept of a folk, exemplary group of folk art and general provisions; conditions and procedure for conferring the title “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”; rights and responsibilities of the people's collective.

The appendix provides a sample application for assignment/confirmation of the title of “folk”, “exemplary” folk art group.

Chapter I . Folk art group as a socio-pedagogical phenomenon

1. The concept of a folk art group

In order to understand the role of an amateur artistic group, it is necessary first of all to find out its essence. Knowledge of the concept of an amateur art group is also important in order to correctly plan its work, increase its effectiveness in the education and development of participants and spectators, and develop pedagogical and artistic principles organization and management of its activities.

Underfolk art group is understood as a permanent, without the rights of a legal entity, voluntary association of lovers and performers of musical, choral, vocal, choreographic, theatrical, fine arts, arts and crafts, circus, film, photography, video art, based on a community of artistic interests and joint educational - creative activity of participants, promoting 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:

association – form of creative activity in additional education, which aims to develop abilities, satisfy the creative interests of participants, and 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 activities 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 preparatory groups, studios, etc.

Among the mainsigns characterizing the team can be called:

One of the main goals of the existence of a team is the opportunity to express oneself, show one’s activity, initiative, independence, as well as the opportunity to assert oneself in the team;

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

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

Systematic practical connection between the team and society;

The presence of positive traditions and exciting prospects;

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

The folk art group is multifunctional. The following main ones can be identifiedteam functions :

Organizational – the team becomes the subject of management by its socially useful activities;

Educational – the team becomes the bearer and promoter of certain ideological and moral beliefs;

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

Developmental – in the team there is a comprehensive and harmonious development of the individual through the means of art, etc.

1. Main tasks and organization of activities of folk art groups

One of the main tasks of the folk art collective is to introduce the members of the collective to the artistic traditions of their people, to national culture, global artistic values based on their creative development and propaganda among the audience. The team also contributes to: introducing the population to the cultural traditions of the peoples of the Russian Federation, the best examples of domestic and world culture;organizing leisure activities for the population.

In a folk art group, there is a harmonious development of the individual, the formation moral qualities and aesthetic tastes. Participants of an amateur group acquire knowledge, skills and abilities in various types of artistic creativity, get the opportunity to develop their creativity in one area or another.

The team creates conditions for active participation in cultural life and creative activities of socially disadvantaged segments of the population. Including conditions for the cultural rehabilitation of disabled children and the socialization of children from socially disadvantaged environments through creative activities.

Through their activities, folk art groups 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 and contribute to the widespread involvement of various social groups of the population in creativity.

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

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

2. The presence of a leader or asset, consisting of the most authoritative and proactive participants who contribute to the creation of a creative atmosphere in the team, exercise self-government in it, and are responsible for certain specific activities.

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

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

The conditions for membership in the team are determined by its Regulations. The amount of the membership fee (if any) is established annually by order of the head of the base institution based on the team’s cost estimate.

Classes in groups are held systematically for at least 3 class hours per week (classroom hour - 45 minutes).

By agreement with the head of the cultural and leisure institution, groups can 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 creativity, groups can be nominated for the title of “folk, exemplary group of folk art”.

Managers and the best team members who lead fruitful creative activities can be nominated in the prescribed manner for awards with all forms of incentives accepted and valid in the industry.

Any team can exist only when it develops, tirelessly moving towards a common goal. The specificity of NHT teams is that its participants and employees of cultural and leisure institutions themselves choose the long-term goals and current tasks of the team, and they themselves determine the ways to solve these problems. Here the theory and practice of general pedagogy comes to the rescue, which scientifically substantiates the conditions and laws of team development.

At the beginning of the twentieth century, the famous Soviet teacher A.S. Makarenko formulated the laws of movement (development) of a collective, which are quite modern today and acceptable for folk art groups.

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

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

Great value in in this case has the scale of activity. Is the work of the team closed in on itself or is its work focused on going beyond its boundaries, 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.

2nd law. The right combination of social and personal aspirations and interests.

A person comes to an amateur group, realizing that here he will have the conditions for doing what he loves more productively than alone. But in a team, 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 into it in a modified form.

Achieving a collective goal requires such coordination of people's efforts that 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 to understand that personal success is linked to the success of the entire team. A 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 properly coordinate them. The need to reconcile interests often arises when developing a program of activities for a long period or when distributing roles and responsibilities.

Conflicts arise, the reasons for which may be: inaccurate understanding of the amateur group members about their own capabilities; sometimes a team needs its member to do a different job than he likes better; misunderstood interests of the team (a person is assigned the same role, which he does well); egocentrism, selfishness of individual team members.

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 group; the level of actual creative capabilities of the participants; the prestige of the leader and the authority of public opinion; individual mental characteristics amateur; the degree of urgency of the work performed by the team, etc. Methods can be different: explanation and persuasion; manager's requirement; pressure of public opinion; exception.

3 law. Availability of a system of promising lines.

In addition to general goals, the team must have specific tasks, the solution of which constitutes the real content of its movement (development). Such a set of agreed upon, mutually subordinated and regularly distributed goals and objectives over time is calledpromising lines .

1. Short term.

Immediate goals, easily achievable tasks. Their implementation is possible with ordinary efforts and is within the current capabilities of amateur participants. [5, 216]

Its correct organization is important in the early stages of a team’s existence, when immediate interest predominates and the long-term perspective is not clearly seen. For example, a choir director, learning a song at the first lessons at the request of the majority of participants or organizing a visit to a concert, begins work on uniting the team from precisely this kind of perspective.

A skillful combination of theoretical and practical classes, special training exercises and executive and creative activities. The short-term perspective retains its significance at subsequent stages of the team’s development, but its meaning is different. If at the beginning of work it is the only stimulus, then later one realizes its connection with the middle and long-term prospects and its subordination to them. To fill immediate prospects with social content associated with joy and satisfaction from general labor stress in the interests of the team - this task faces the leader continuously.

2. Medium perspective.

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

3. Long-term perspective.

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

About the level of skill that needs to be achieved;

About the place that the team should take among other amateur groups;

About the social 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 and step is perceived not in itself, but as a necessary stage on the path to significant achievements. And at the same time, distant prospects are becoming more realistic. All this contributes to the normal development of the amateur creative team.

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

Public opinion plays a big 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 regulates the entire internal life of the team. 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 to follow, a standard of correctness, something high. The sanctions resorted to by members of communities (collectives) support and reinforce this high position of public opinion. As an authority and example, public opinion guides 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 self-will. It determines which wrong actions should be subject to sanctions from the majority of members of communities and organizations.

The criteria of public opinion have significant stability. They are less subject to fluctuations than the moods, feelings and judgments of an individual. The formation of public opinion is greatly influenced by the assessment of the leader and assessment by the public. Grade - supreme instrument management. Any action individuals or microgroups, intermediate results and overall results should be assessed from the perspective of their significance for the team as a whole.

The presence of traditions plays a huge role in the development of a team.Tradition - not any repeating elements in the life of a group, but only those that characterize them as special groups, not similar to 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 skill of the leader of the NHT team lies in the ability to find a beautiful, ideologically and emotionally capacious tradition.

It is necessary to form traditions at the early stages of team development. Joint visits to concerts, exhibitions, excursions, and walks in nature allow one to build friendly relationships within 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 and actions; original forms for holding the first meeting in the new season and last meeting in the academic year; the ritual of admitting newcomers to the team, including recommendations, presentation of independently completed work, comic quality testing, solemn promises, presentation of a membership card, written instructions, etc.

2. Traditions associated with the creative activities of the team. These can be traditional meetings with cultural and artistic 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. Inclusion of works by the same author into the repertoire of a folk art group (for example, systematically including in the repertoire theater group plays by A.N. Ostrovsky), the tradition of starting or ending a concert with the same song, etc.

The establishment of traditions is associated with the development of attributes, which represent a kind of symbolization of content using external expression. This may include the badges and emblem of the team, the motto, the traditional form of announcements about regular classes, meetings, rehearsals, some symbolic items, talismans.

Traditions are more easily accepted and established when amateur performance participants know the history of the origin and development of the group. Each participant should be aware of the organizational and creative path of your team. They do the right thing where they chronicle their lives, collect and store material relics, posters, programs, and even organize small museums.

1.3.The problem of classifying groups

When trying to classify folk art groups, certain difficulties arise. But this must be done, since not only the final result of creativity in the team and the methods of demonstrating the results depend on this, but also the nature of the classes, the educational and training process is unique, specific forms accept contacts with the public.

It is possible to classify groups distinguished according to the following criteria:

By departmental affiliation (teams of government agencies, military units, etc.),

According to social and professional characteristics (worker, student, school),

By demographic characteristics (children, teenagers, youth; women's choir, men's choir, etc.);

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

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

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

1. Primary art groups.

Clubs focused primarily on educational purposes. Participants work mainly “for themselves”; the results of their activities are exhibited to a narrow circle of people.

Collectives of the second stage, into which people are accepted who have a certain artistic and creative experience and have, if not talent, 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. Partially they represent semi-professionals, that is, people who have received a general art education, but work in a different specialty.

2.Secondary art groups.

Mugs with weakly expressed artistic beginning– something transitional from an informal group for spending leisure time together to an artistic group.

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

First-stage teams or circles that bring together participants who solve relatively simple problems artistic tasks and performing in front of a narrow circle of spectators (schools, military units, institutions, etc.)

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

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

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

This classification is used in sociology.

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

Teamstheatrical arts: dramatic, musical and dramatic, puppet theaters, young spectators, small theaters - theaters of variety, poetry, miniatures, pantomime, etc.

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

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

Teamscircus art: circus studios, performers of the original genre.

Teamsfine and decorative arts.

Teamsphoto, film, video arts.

1.4. Content of team activities

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, and concert activities.

All organizational and methodological The 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; studying the needs and demands of the population; activities to create a creative atmosphere in teams; conscientious fulfillment of instructions by 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 summing up the results 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 principles and is carried out in one way or another in any amateur group. But the organization and form of conducting systematic classes characteristic of a given group (rehearsal, lecture, lesson, training, etc.) will depend on the genre of creativity.

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

Educational work in groups is determined by plans and programs and should include in all groups: familiarization with the history of art, the processes occurring 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 educational purposes.

Also, all groups carry out production (choreographer, director, conductor) and rehearsal work (practice of choreographed numbers, performances, etudes, compositions, musical works etc.).

Features of working in teamstheatrical arts consist of the following specific “subjects”:
classes on acting, speech technique and artistic expression, musical literacy, voice training, learning vocal parts; working with a director, playwright, composer, accompanist; work on a miniature, a thematic program, a literary or literary-musical composition, prose, poetic work or a cycle of poems.

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

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

In teams circus art: classes on studying the history of circus art; training and physical development; circus art techniques, musical and artistic design, director's decision of the act.

In teams fine and decorative arts: classes on the history of fine and decorative arts; technique and technology of painting, graphics, sculpture and applied arts - carving, embossing, inlay, artistic embroidery, beading, etc.; compositions; performing artistic and design tasks; organizing exhibitions, working in the open air.

In teams photo, film, video arts : classes on the history of cinema and photography; material part; film, video and photography techniques; directing, cameraman, screenwriting skills; organizing screenings, analyzes and discussions of amateur films and photographs; according to the methodology for organizing photo exhibitions, film and video screenings, performing design work (with amateur photographers); creating films on various topics.

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

And, of course, it is mandatory for any teamconcert activity : concerts at the level of a cultural institution, district, city, region; touring activities; participation in competitions, festivals, championships.

Chapter II. Folk, exemplary folk art group

In the Chelyabinsk region, the Regional Center of Folk Art is responsible for recording groups that have the title “folk” (“exemplary”). The center also monitors the activities of the groups, collects materials and documents to send to Moscow and award the teams the title of Honored Team of the Russian Federation.

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

At the moment, these problems have been resolved, a clear count of teams is being carried out, and the list is updated annually. According to data as of January 1, 2008, in the Chelyabinsk region there are 392 groups that have been awarded the title “national” (“exemplary”). Soviet era 161. The longest-running groups in the Chelyabinsk region are considered to be the vocal group “Kamerton” in the city of Miass, founded in 1952 (director Elena Viktorovna Mikhailova), and the theater for young spectators “Labyrinth” founded in 1956 in the Kizilsky district (director German Yurievich Tretyak). Last year, the Russian song choir of the Palace of Culture “Flight” of the city of Chelyabinsk under the direction of Elena Yurievna Egorova celebrated its 50th anniversary.

According to the center's statistics, nowadays more teams receive the title. In 2007 alone, 75 titles were awarded. According to N.I. Novikova, this is explained by the fact that in Soviet times in the club one person could engage in singing, dancing, and handicrafts. And now they have given rates, qualified specialists are appearing in each field, 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 Folk Art Center, groups that already had the title of “folk” were awarded the title of Honored Folk Art Team of the Chelyabinsk Region. 21 teams received this title. The right to be awarded the Title are groups engaged in amateur artistic creativity for at least 15 years from the date they were awarded the title “People’s” group, 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 artistic creativity (hereinafter referred to as the People's Collective) is a permanent voluntary association of people based on common interests, requests and needs in the pursuit of amateur artistic creativity in joint creative activities that contribute to the development of the talents of its participants and their achievement of high artistic results, cultural service and aesthetic education population.

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

Adult groups are awarded the title “folk group of amateur artistic creativity.” Children's groups are awarded the title "exemplary group of amateur artistic creativity." Collectives of fine and decorative arts, film, video and photography are awarded the title of “people's amateur studio”.

The assignment and confirmation of the titles “folk group of amateur artistic creativity”, “exemplary group of amateur artistic creativity” and “folk amateur studio” is carried out by the Ministry of Culture of a particular region. Preparatory organizational, creative and methodological work for conferring and confirming the title “People's Collective” is carried out by a regional state cultural institution, for example, the state regional Palace of Folk Art.

The assignment and confirmation of the title “People's Collective” for groups 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 “Folk Collective” for groups 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, wages and other organizational expenses.

2.2. Conditions and procedure for conferring the title “People's Collective”, procedure for confirmation and procedure for removing the title

The title “People's Collective” is awarded to creative teams that:

Operate stably for at least 5 years from the date of creation;

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

Form and replenish the repertoire with the best works of Russian and foreign art, meeting the criteria of artistry;

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

They are winners of regional, regional, all-Russian, international competitions, shows, festivals, the founders of which are government bodies management, institutions, organizations;

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

The nomination of groups working in regional state cultural institutions (organizations) for awarding them the title “People's Collective” is carried out by the heads of regional state cultural institutions (organizations).

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

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 the collective claiming the title “Folk Collective”:

A petition addressed to the chairman of the certification commission of the Ministry of Culture of the region (region) to award the team the title “national, exemplary”, in which the obligation to financially support the activities of the team must be confirmed;

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

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

Statistical indicators of the team’s activities 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 ensemble for the last 3 years, certified by the seal and signature of the head of the base institution (organization);

Creative characteristics 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 team leader;

Copies of documents indicating that team leaders have completed professional development activities over the past 5 years;

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

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

DVD, CD or video cassette with a recording of the creative program of the group.

Based on the submitted documents, the state regional organization of folk art creates a review commission, which includes specialists of the relevant 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:

recommend the team for assignment (confirmation) of the title “People's Collective”, view the creative program of the team with an on-site visit. The form and timing of the review should be agreed upon with the head of the municipal cultural management body (the on-site work plan of the review commission for the coming month is formed by the 10th of the current month);

Stage 2 - viewing the creative program of the team with an on-site visit.

Based on the results of viewing the group, a protocol of the screening commission is drawn up, which is submitted to the certification commission of the Ministry of Culture of the region (region) together with documents by the 10th day of the month following the viewing.

The decision to award the title “People's Collective” is made by the certification commission of the Ministry of Culture of the region (region). The decision of the certification commission is formalized by order of the minister of culture of the region (region).

The team awarded the title “People's Team” is awarded a Certificate confirming this title.

The order of the Minister of Culture of the region (region) on conferring the title “People's Collective” on the group, the Certificate, and a copy of the protocol of the screening commission are sent to the municipal cultural management body.

The procedure for confirming and the procedure for removing the title “People's Collective”.

Title "People's Team"confirmed Once every 3 years by a stable working team. The procedure for confirming the title “People's Collective” corresponds to the procedure for assigning the title. The order of the Minister of Culture of the region (region) to confirm the title of “People's Collective” to the team and a copy of the protocol of the screening commission are sent to the municipal cultural management body.

Title "People's Team"removed in 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 screening committee;

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

The decision to remove the title “Folk Collective” from a collective is made by the certification commission of the Ministry of Culture of the region (region) based on a submission from the state regional organization of folk art. The decision of the certification commission is formalized 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 “People's Collective” from the collective is sent to the municipal cultural management body.

2.3. Standards for the activities of the People's Collective; Rights and responsibilities of the people's collective

Folk groups must prepare within a year:

creative team

Performance Indicators

Drama, music and drama theaters

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

Puppet theaters

At least one new performance and one concert program

Opera and ballet theaters, musical comedy

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

ABOUT orchestras of folk or wind instruments, instrumental ensembles, vocal-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

Small theaters (theaters of the reader, stage, miniatures, pantomime, etc.)

At least two new productions-programs

TO foreign and video studios

At least two new short films and provide assistance in creating presentation films to the cultural institutions (organizations) on which they exist

Photo studios

Fine and decorative arts studios

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

A folk collective of various types and genres of artistic creativity must:

at least 4 during the year

Participate in national concerts and public events

at least 15 during the year

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

at least once a year.

Become a winner (grand prix, laureate, 1st, 2nd, 3rd degree diplomas) competitive event, not lower than the regional level, the founders of which are government bodies, institutions, organizations

at least once every 5 years.

Classes in the People's Collective are held systematically at least twice a week for three study hours (a study hour is 45 minutes).

The people's collective carries out its activities in accordance with the standards.

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

Leaders and best members of the people's collective, leading fruitful creative activities, can be nominated in the prescribed manner for awards with all forms of encouragement accepted and valid in the industry.

When a team moves in its entirety together with its leader from one base institution (organization) to another or when the name of the team changes (while maintaining its full composition and leader), the team may retain the title “People’s Collective” if mandatory condition passing the procedure for re-issuing relevant documents.

The basis for re-registration of documents is a petition from the head of the municipal cultural management body addressed to the chairman of the certification commission of the Ministry of Culture of the region (region) to make changes to 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 Collective. States of the People's Collective. Remuneration of specialists

General management and control over the activities of the people's 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 base institution (organization) creates the necessary conditions, approves work plans, programs, income and expense estimates

Direct management of the People's Collective is carried out by the head of the collective - a specialist who has the necessary education or professional skills and work experience (director, conductor, choirmaster, choreographer, artist-director of a studio of fine, decorative and applied arts, etc.).

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

Head of the People's Collective:

recruits participants for the team and forms groups according to the level of training;

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 team to create artistically complete performances, performances, concert programs, works of fine, decorative and applied art, film, video and photographic works, etc.;

prepares the performances of the group, ensures its active participation in festivals, shows, competitions, concerts and public holiday events;

maintains creative contacts with other amateur and professional groups;

maintains a log of the team's work;

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 a People's Collective operating on the basis of a state or municipal institution (organization), up to 3 (three) specialist positions can be supported at the expense of budgetary allocations, the rest - through 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 People's collectives working in municipal cultural institutions are established in accordance with the remuneration system established by local governments.

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

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

IN working hours full-time creative workers of Folk groups, the time spent on performing all types of work is counted: preparation and holding of concerts, performances, special classes, group and individual rehearsals; events for the production of performances, concert programs, organization of exhibitions, etc.; tours with the team; work on selecting repertoire, creating script materials; research and expedition activities in the profile of the folk group; participation in educational events (seminars, advanced training courses); economic activities for the improvement and decoration of the work 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 literature studied, the following conclusions can be drawn:

The folk art collective is based on a community of creative interests. It is dominated by educational creative activity, aimed at students acquiring knowledge, skills and abilities in various types of artistic creativity, and 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 activities according to plans and programs, etc.

Creative and organizational work in a folk art group involves organizing and conducting systematic classes in forms and types characteristic of a given group (rehearsal, lecture, lesson, training, etc.), teaching artistic creativity skills, 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)

A folk art group can receive the title of “folk” or “exemplary” if certain requirements are met and standards of activity are observed. The people's collective also has rights and responsibilities.

IN lately There is an increasing need for gifted, creatively minded teachers who not only deeply understand the pedagogical tasks of art in society, but also have the necessary professional skills to work with folk art groups, 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. From how university graduates will be prepared to fulfill their professional and pedagogical responsibilities in working with creative team what creative and pedagogical theories and methods they master during their studies will determine the effectiveness and quality educational process in folk art groups.

References

Asabin, A. M. Methodology of pedagogical management of an artistic and creative team: training manual/ A. M. Asabin. – Chelyabinsk: ChGAKI, 2004. – 150 p.

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

Ivleva, L. D. Management of the educational process in a choreographic group / L. D. Ivleva. – Chelyabinsk: ChGIK, 1989. – 74 p.

Kargin, A. S. Educational work in an amateur art group: textbook. manual for students of cultural education. fak. universities of culture and arts / A. S. Kargin. – M.: Education, 1984. – 224 p.

Makarenko, A. S. Team 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 team: M. M. Bezrukikh, V. A. Bolotov, L. S. Glebova and others - M.: Bolshaya Russian encyclopedia, 2003. – 528 p.: ill.

Regulations on the title “Honored Folk Art Group 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 collective of amateur artistic creativity of the regional state cultural and leisure institution 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. – January 30. – 6 s.

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

Sokolovsky, Yu. E. Amateur artistic team / Yu. E. Sokolovsky. - M.: Sov. Russia, 1979.

Khairullin, R. Bashkir ensemble folk dance/ R. Khairullin. – Ufa, 1966. – 33 p.

Kharlamov, I. F. Pedagogy: textbook / I. F. Kharlamov. – M.: Higher School, 1990. – 576 p.

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

Appendix 1

BID

To consider the issue of __________________________________________________________

(assignment, confirmation of the title “national”, “exemplary”)

1To the team_______________________________________________________

Genre______________________________________________________________

Year of creation of the team_____________________________________________

Year of awarding the title “national”, “exemplary”______________________

Date and number of the Order_______________________________________________

Year of last title confirmation________________________________

Date and number of the Order_______________________________________________

Age type of the team__________________________________________

(adult, mixed, children)

2Number of participants in the team: total___________________________

3Including: men________________women________________________

boys______________girls________________________

Team address: postal code__________________________________________

city ​​( district)______________________________________

institution _____________________________________________

street _________________________________________________

house number _____________________________________________

telephones, fax ___________________________________

E-mail _________________________________________________

Information about the manager (I)team (Attached is information about all team leaders):

4Last name, first name, patronymic _____________________________________________

Year and date of birth ________________________________________________

Education ( what and when graduated)___________________________________

_________________________________________________________________

________________________________________________________________________________________________________________________________

Work experience in the cultural sector ________________________________________________

(from what year)

Experience working with this team ___________________________________

(from what year)

Titles, awards_________________________________________________________

__________________________________________________________________

Home address: postal code ___________________________________

city ​​( village), district__________________________________

street _____________________________________________

house number ____________________apt.__________________

telephone ___________________________________________

Manager's passport: series __________________number_________________

date of issue ________________issued by ______________________________

The term "collective" comes from the Latin collectives- collective. A team is a group of people united by common goals and objectives, which has achieved a high level of development in the process of joint activities.

Folk art groups mean any form of association of art lovers to realize a common artistic goal in leisure time.

Classification

- By form:

Folklore:

A) Authentic- represent a group of fellow villagers who are carriers of traditional, authentic folklore. Their repertoire is folklore, is not compiled in advance, and is taken from what remains in memory. The leadership of such a team is formal. Participants gather spontaneously. The groups are of different ages; a concert situation is not typical for them. The method of transmitting traditions, skills and abilities of artistic activity is ethnopedagogy.

Ethnopedagogy is the theory and methodology of education, training and personal development in the process of creative development of the traditions of a particular people (ethnic group).

b) Secondary. Bring together interested people from different specialties. They collect folklore material and participate in expeditions. The function of such groups is to preserve and promote folklore, therefore they participate in creative shows and cultural events. The leader is most often a professional. Teams can be either formally or informally organized. Teams of different ages.

Amateur. Characterized by voluntary activity and democracy. The goal is to realize the creative potential of team members. The repertoire is varied, most often works of foreign and domestic classics. They exist through contributions from participants. When choosing the repertoire, the wishes of the participants are taken into account. The manager can be either a professional or a non-professional, and can receive a salary.

Amateurism has been actively developing since the 18th century thanks to the reforms of Peter 1. At this stage, new forms of mass artistic education and education based on professional art pedagogy.

Amateur. The development of this type of collectives took place over the years Soviet power. Government funding is common; the priority principle of party membership, manifested in the crude and incompetent interference of the party-state apparatus in the processes of artistic creativity. A new, controlled art was created to replace the self-developing and self-regulating one.

During these years, a system was formed vocational training leaders of amateur art groups. A professional manager with a salary appears. Amateur performance is characterized by a clear organization of the process of training and education. When recruiting for a team, the age and creative inclinations of the participants are taken into account.

The formation of a pedagogy of amateur performances that takes into account the specifics of the activities of non-professionals in the field of art.

Pedagogy of folk artistic creativity - theory and methodology of pedagogical management of various forms of non-specialized artistic creativity.

Non-specialized (non-professional) artistic creativity characterizes current state amateur art. It is characterized by ideological and artistic diversity and humanization. Collectives of non-specialized artistic creativity in terms of organization, selection of repertoire, and leader status reflect or synthesize the types that existed before them. Characteristic combination traditional types artistic creativity and innovation (filling with new content, using technical means).

- By type of organization: informally organized and formally organized. Formally organized: there is a common goal of joint activity, division of functions. Activities are regulated regulatory documents, instructions developed by higher authorities. Their work is organized and planned, evaluated by higher organizations. Professional, salaried manager.

Informal are independent associations of amateurs in groups and organizations. It is formed as a result of the initiative of the people who make it up. Unclear goal. Control is based on intragroup traditions, norms of behavior and value orientations.

- By type of activity: performing (choirs, orchestras, ensembles, choreographic groups, theater studios), author's (groups and studios of fine, decorative and applied arts, art song clubs, amateur film and photo studios), art history (clubs for music, theater, cinema lovers) and mixed.

- By type of art: instrumental, dance, vocal, arts and crafts, theater, fine arts, etc.

- By genre, For example, dance groups: folk, classical, pop, ballroom dance, mixed, etc.

- By form of organization: circles, studios, ensembles, associations and clubs of art lovers, etc.

- According to the age characteristics of the participants: children's, youth, youth, mixed, veterans' groups.

- By lifetime.

Thus, during the existence of folk art, various types and forms of collective creativity have developed, which continue to develop in accordance with the trends of the time.

The concept of “folk art” is broad, capacious and very heterogeneous in nature and level. It includes peasant art, handicrafts, the creativity of artisans, and the song tradition. On the Gubkin territory, due to the geographical, historical and cultural situation, household crafts became widespread: weaving, embroidery, crocheting, weaving from wicker and bast, leatherwork, cooperage, and blacksmithing.

Today we see the results great job, which began in the 80s of the last century for the revival traditional culture. Enthusiasts and lovers of antiquity collected bit by bit what had been lost during the years of partocracy and persecution of the traditions of the people. The 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 lacemaker E. Bobyleva creates unique patterns from ordinary threads. The young master of the Theological House of Crafts A. Lisyutin teaches children the intricacies of wood carving. The children in the Konshino Master's House learn their skills in wicker weaving from S. Potemkin. Today a toy is fun. And in the old days it was a talisman, protecting children from evil spirits. The master of the House of Crafts from Bogoslovka, E. Zakharova, managed, based on the stories of old-timers, to restore the technology for making a twisted rag doll.

Within a few recent years It has become traditional to hold a regional creative show-competition of masters of folk arts and crafts "Living Rus'". It is held with the aim of promoting the best examples of folk applied creativity, support for masters of decorative and applied arts. So that people could get to know the original craftsmen better, an exhibition of traditional culture of the Gubkinsky district was organized at the Belgorod Museum of Folk Art, where visitors got acquainted with such crafts as carpet weaving, weaving, and wood painting. The skills of decorative wood processing have been preserved to this day through the efforts of craftsmen from Istobnoye, Konshino, Bogoslovka, Sergeevka.

Exploring the Richest spiritual heritage, revival and promotion of traditional folk culture They leave a blessed trace in the hearts of children, youth, and all residents of the Gubkin territory, giving us the opportunity to touch true art and preserve the spirit of folk traditions.

The historical roots of the folklore ensemble "Resurrection", the children's folklore ensemble "Ladushki", the clubs "Zateinik" and "Slavic Travnitsa", the museum "Living Antiquity" go back to the early eighties of the 20th century. They create the basis of the traditional folk culture of the Gubkin territory.

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

The “Zateinik” club has been created for children and teenagers, where they get acquainted with calendar and ritual holidays, learn ancient folk games, carols, shchedrovki, vesnyankas, and chants.

In order to revive and support traditional culture as part of the celebration of the Days Slavic writing and culture is carried out children's festival folk art "May Karagod", which promotes the development of folk performing arts and the identification of new folk groups.

Over the course of many centuries, song ethnocultural ties and traditions have historically developed on the Gubkin territory. Today song tradition represent 23 folklore and ethnographic groups, including 11 children's groups. Their activities are based on revival and propaganda song folklore, original dances, oral folk art. There is a life-giving spring of original ancient songs in the village of Chuevo, where the song heritage is preserved and passed on to the younger generation by members of the folklore and ethnographic group "Posidelki". Members of the folklore ensemble "Rodnik" of the Theological House of Culture restored the ancient wedding ceremony. And now on the Gubkinsky territory it is gradually becoming a tradition to hold modern weddings in the old style.

The “Russian Song” choir appeared on the basis of the Stroitel cultural center in February 1986, the origins of its creation were the director Valentina Grigorova and accompanist Ivan Chentsov. Soon enough, a stable group of 27 people was formed, distinctive features whose determination, desire to master the peaks became vocal art, and the fruits of the labor were not long in coming. Letters of gratitude, certificates of honor and diplomas from territorial, regional, regional competitions and festivals, and the most long-awaited one - the title “folk”, awarded to the choir in 1990.

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

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

In 1986, the choir of the House of Culture "Builder" "Russian Song" was created. "In 20 years concert activities The choir traveled to many cities and regions. Memory, like photographic film, stores the most vivid impressions, says accompanist of the Russian Song choir Sergei Shchuplov. More than once there were funny cases, but mutual assistance always saved us. Through the sleeves in No one works in the choir, since everyone feels responsible to the listeners, and the choir’s repertoire requires serious consideration. These are not only songs of our region and various regions of Russia, allowing some improvisation, but also works borrowed from the repertoire professional teams Voronezh Russian folk and Kuban Cossack choirs.

For more than 20 years, Gubkin residents have been pleased with the work of the academic folk choir of veterans of the Great Patriotic War“Living Memory”, led by Honored Cultural Worker 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 director and the love of choral singing of the choir members.

Folk art ensembles are organized in club institutions. But stronger and more interesting are the connections between talented people who found each other during 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's what she observed: "The traditional folk festival "Golden Autumn" turned into a big folk festival. And it was made so by improvised performances (5 accordionists and balalaika players who came to the “Play, Accordion” competition). Naughty, funny ditties composed for the Golden Autumn holiday by a worker of the mine rescue team B.V. Abakumov:

"Play, play, accordion!

Have fun, honest people,

If your little legs get tired,

Let's go home in our arms!"

But no one could even imagine that an impromptu competition would arise. NIIKMA employee N.F. read his poems. Iovlev. Pensioner N.Ya. The guard also read his poems about his native Gubkin. And the planned harmonica competition grew into a real folklore festival.

We are at the autumn festival -

Play more fun, accordion!

We will attract you with our singing.

IN the heart will light up on fire!

The folk ensemble of the ZhBI-2 plant began their performance with perky, crafty ditties of their own composition. Elegant costumes and ringing voices could not help but evoke applause and smiles from the audience.

And here in front of the public is a folklore ensemble that came to the festival from the Sergeevskoye experimental production facility. His speech was, as they say, the highlight of the program. The members of the ensemble came out in bright sundresses and balalaikas. They sang the Russian folk songs “Meadow Duck” and “Give me the Balalaika” beautifully. And the ditties of the Zavolokin brothers were scattered throughout the entire district by M. A. Ovsyannikov.

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

Folk art will be preserved in the families of lovers and admirers of antiquity and traditional folk culture. People's favorite folk songs are original ditty players, balalaika players, accordionists, and singers at funerals (they don't scream at weddings anymore, these traditions are gone). Thus, 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 people's soul. On the Gubkin territory, folk groups received permanent registration and a green street.

Directory of folk groups, soloists, folk choirs, ensembles folk music, song, dance

Part two. Ensembles of the Moscow region

Center for Traditional Culture “Istoki”, Podolsk
The folklore ensemble “Istoki” was created in 1978. The main goal of the creative activity of the team is to master and recreate cultural traditions Southern Moscow region and surrounding areas.
The diverse creative activities of the ensemble - research, teaching, performing - made it possible in 1994 to create on its basis the Center for Traditional Culture of the Southern Moscow Region "Istoki". The Istoki Center conducts active concert and festival activities. The ensemble has repeatedly participated in All-Russian folklore festivals in Novosibirsk, Omsk, Perm, Vologda, Yekaterinburg, Volgograd, St. Petersburg, Samara, and has also become a laureate of major international festivals and competitions.
Head: Mikhail Bessonov.
The “Slavic House” festival is held annually by the “Istoki” Center. Festival participants are authentic and ethnographic groups from Russia, Ukraine, Belarus, Latgale, Serbia, Bosnia and Herzegovina.