Innovative project "literary living room as a project aimed at enhancing the independent cognitive activity of students." Music festival in the dialogue of cultures shirova, Elena Anatolyevna Literary music festival relevance
Sections: Extracurricular activities
Relevance of the problem
In the modern world, saturated with information technology, interest in traditional forms of cultural acquaintance has sharply decreased: reading, mastering the rules and norms of the native language; cultural nihilism and disdain for cultural and historical heritage are manifested everywhere; there is a reassessment of values, a departure from spiritual and moral to material and pragmatic guidelines in life.
Hence the need to introduce the younger generation to the basics of Russian culture, part of which is the native language and native literature, which allows young people to realize their identity as a bearer of national culture, an exponent of the national mentality.
The educational process in our school is implemented through the activities of the Additional Pedagogical Support Service. The school library is also an integral part of this service. When organizing educational work with children, we strive to use modern pedagogical technologies, one of which is the “project method”. The “Literary and Musical Living Room” project is being implemented on the basis of the school library.
Literary and musical lounge– one of the forms of extracurricular work in the subjects “Reading” and “Russian Language”, “History”, “Fine Arts”, “Music”.
Goals and objectives literary and musical living room.
- to form culturally responsive thinking of students based on the integration of knowledge acquired in the lessons of the Russian language, reading, history, music; analysis and synthesis of various works of art: literature, music, painting;
- enriching the spiritual world of students, correcting their emotional sphere;
- introducing students to independent reading;
- development of reader interest;
- developing in children an understanding of the features of the figurative language of works of literature, painting, and music;
- development of students' creative abilities.
Main forms of work are activities that promote the diversified development of students, correction of the emotional-volitional sphere, correction of cognitive activity: poetry workshop, theatrical performance, thematic competitions, quizzes, vernissages, artist exhibitions, musical stories, themed evenings, meetings with interesting people.
The meetings of the literary and musical lounge held within the framework of the project contribute to:
- enriching the spiritual world of students, correcting their emotional sphere;
- introducing students to independent reading;
- development of reader interest;
- developing in children an understanding of the features of the figurative language of works of literature, painting, and music;
- development of creative abilities of students with disabilities.
Areas of activity and forms of work.
Directions |
Forms of work |
|
Artistic word |
1. Poetry workshop |
|
Painting |
1. Opening days |
|
1. Music stories |
||
Folklore |
1. Gatherings |
Project participants: librarian, head of additional pedagogical support service, (educational work), music teacher; additional education teachers, art teacher, labor training teachers, Russian language, reading, history teachers.
Project monitoring
Criteria that determine the effectiveness of the project:
– participation of schoolchildren in extracurricular activities;
– degree of participation in ongoing events (quantitative and qualitative characteristics);
– quality of preparation of speeches;
– level of reading activity (visiting the library).
Information support for the project.
– publication of newsletters about the work of the literary and musical lounge (once every quarter);
– maintaining an artistic photo album (during the academic year);
– photo exhibitions (after the next meeting of the living room).
Thematic planning
| № | Subject |
Classes |
Month |
Vernissage “The rowan tree lit up with a red cluster” (based on the works of S. Yesenin and M. Tsvetaeva) |
|||
Literary evening “How the heart can express itself” (evening dedicated to the poetry of A.S. Pushkin) |
|||
Theatrical performance "Christmas Carols" |
|||
“Literary opening day “Here is the Russian spirit, here it smells of Russia” based on the fairy tales of A.S. Pushkin |
|||
Evening-meeting “Children of the Wartime” |
In preparation for each meeting of the literary and musical living room, the project leader (school librarian) carries out a huge amount of preparatory work: introducing children to the works of writers, poets, and artists; writing a script, assigning roles, rehearsals, individual lessons with each student to expressly present their role.
Work is underway to prepare costumes, necessary accessories, attributes, as well as decorating the living room. The children, under the guidance of labor training and fine arts teachers, sew costumes, make various bouquets, beads, bracelets, vases, birch bark products necessary to convey the spirit of a particular era. They learn songs, dances, works of Russian folk art: chants, nursery rhymes, ditties.
A large number of people are involved in the preparatory work: students, teachers, invited guests. Each meeting of the literary and musical lounge, in terms of the scale of the preparatory work, becomes a collective creative endeavor. Everyone is looking forward to it - teachers, students, spectators, and participants.
The children discover the world of creativity of poets, writers, artists, and musicians. At the same time, they are not passive contemplatives of the ongoing action, but active participants in events: they turn into heroes of literary works, into characters depicted in artists’ paintings.
Over the two years of implementation of the Literary and Musical Living Room project, certain results have emerged:
– a permanent creative team of students has been formed;
– the level of general culture of students has changed;
– students’ interest in literary expression has increased; music, painting;
– the level of reader activity has doubled.
Today, the library in our school is not only a continuation of the educational system, but also a place for children to communicate according to their interests. The guys come here to choose a book, draw, look through magazines, encyclopedias, books, and most importantly, they can’t wait to start working on a new performance, to feel like a performer of a new role.
“Here is the Russian spirit, here it smells of Russia” based on the fairy tales of A.S. Pushkin
“How the heart can express itself” (evening dedicated to the poetry of A.S. Pushkin)
youth culture, creative activity, festival, leisure, youth.
Annotation:The article is devoted to the phenomenon of “youth culture” and its role in the continuity of generations. The author analyzes the importance of communications in the process of entertainment events as an aid in determining the social role and the formation of creative activity. Based on the study, a number of features have been established in organizing leisure time for young people and realizing the creative needs of this social group.
Article text:
Is it easy to be young? It hasn't been easy at all times. And now many new youth problems have arisen. But at the same time, youth is also a wonderful time, when energy is overflowing and you want to comprehend everything, learn about everything. We are already independent in many ways, but we are not yet concerned to the same extent as adults with problems of home, family, money, and health.
And in this unique period, we must have time to know, comprehend and do as much as possible. Any society, any culture is not indifferent to what choice an individual makes.
We can also say that youth are a necessary link in the relay of generations, a living connection between the past and the future. Although youth were not always considered as a special social group - a generation, the problem of conflict and continuity of generations constantly arose in society.
Back in the second half of the twentieth century, in connection with the construction of the so-called “technogenic civilization,” the phenomenon of youth culture arose. If previously the culture was not divided into youth and adults, everyone, regardless of age, sang the same songs, listened to the same music, danced the same dances, but now everything has changed. Serious differences appeared between “fathers” and “children” in value orientations, fashion, methods of communication, and often in lifestyle in general [Dragicevic-Sesic, Stojkovic 2000; 45].
Currently, the acute question has arisen about what modern culture should be like for the full development and formation of creative activity of young people.
According to A.D. Zharkov, human contacts in the process of entertainment events are especially positive for mutual influence since they occur in leisure conditions, in a relaxed atmosphere, when the most free nature of behavior is conducive to mutual understanding. Therefore, all types and forms of cultural and leisure activities are developed and improved on the basis of communication [Zharkov 1998; 67].
Currently, there are a large number of forms of leisure activities for young people. To solve this problem, we highlight such a form as a festival.
The festival is a mass celebration during which achievements in such areas as music, cinema, theater, pop and much more are demonstrated. Thanks to the festival, the need for social communication among young people, for public assessment of the work done, and for psychological relaxation is satisfied. Holding festivals has a significant impact on the cultural and leisure time of young people
[Mazaev 1978; 21].
We agree with A.D. Zharkov, speaking about the subjective side of communication during the festival, on the basis of which a person’s assessment of his role and place in a social group can be determined. This is directly related to a person’s comparison of his personal qualities and assessment of his social status [Zharkov 1998; 48].
It should be noted that the festival as a form of work with youth is quite relevant. After all, solving the problem of forming creative activity through this activity is an important task in organizing leisure time for this social group [Belousov 2006;25].
Thanks to festivals, the creative potential of young people is revealed and their mental and psychological state improves. And as a result, communication between people in a concert and festive atmosphere becomes a synthesis of various interests and emotional and aesthetic components. Of course, this is a complex and diverse process that promotes mutual understanding and empathy among individuals, where collective experiences are a factor in the effect of the greatest involvement in the events of the festival [Benifand 2006; 56].
The organizational aspects of holding festivals are mentioned by such authors as D.M. Genkin “Organization and methodology of artistic and mass work”, as well as in the textbook “Mass Holidays”; A.I. Chechetin “Fundamentals of Drama and Theater Concert”; O.I. Markov “Script and director’s foundations of the artistic and pedagogical activities of the club”; L.P. Sharapov and V.G. Kosyakov “Methodological recommendations to help organize mass events.”
As part of our research, we identified a number of features in organizing leisure time for young people through the festival.
In the program content of the festival, it is advisable to use methods and means of influencing all the senses of the participants. For example, the lighting, sound and artistic design of festival programs should be highlighted. This contributes, in our opinion, to the rapid inclusion of festival participants in the atmosphere of action [Bibartseva 1999; 45-48].
The relevance of studying youth leisure as a means of developing their creative activity is due to the fact that organizing leisure time for modern youth is one of the primary problems, since many of the needs of young people are realized in this area. Currently, leisure is an important factor that influences the process of creative development of an individual, including a young person. Since in this area young people can realize their individuality, in it they become free from professional and family responsibilities; in addition, within its framework, institutional pressure on the personality of a young person is weakened, which can lead to a change in values and the inability to properly organize one’s free time. Therefore, in modern Russian society, in which there is instability of normative value systems, the problem of youth leisure and the development of their creative activity becomes particularly acute and requires study [Birzhenyuk 1999; 67-75]
In addition, leisure is one of the areas that determine the well-being of any person.
Along with the emergence of public interest in the concepts of “leisure” and “free time,” attention to the study of the concept of “youth” increased. Sociology emphasizes the importance of this age category due to the fact that it is a conductor of new ideas, initiatives, and acts as a bearer of the latest knowledge and creativity [Zimin 2006;29].
One of the first sociological definitions of the concept of “youth” in the late 1960s was formulated by sociologist V.T. Lisovsky: “Youth is a generation of people who are going through the stage of socialization, acquiring (and at a more mature age having already acquired) educational, professional and cultural functions and being prepared (prepared) by society for the acquisition and fulfillment of social roles. Depending on specific historical conditions, the age criteria for young people can range from 14 to 35 years” [Belova 2011; 55].
Important attributes of cultural leisure of modern youth are a high level of cultural and technical equipment, the use of modern leisure technologies and forms, methods, aesthetically rich space and a high artistic level of the creative leisure process [Ilyin 2008; 16].
The need for creativity is deeply characteristic of every person, and especially the young. It brings mental satisfaction and at the same time is a means of personal improvement and development. Many forms of leisure include elements of creativity, and the opportunity to create is not open to everyone, since some young people do not want or cannot fully reveal or realize themselves, however, at the genetic level, every person is capable of creativity.
The creative process is an attempt to convey one’s feelings through words, musical sounds, gestures, and facial expressions. As a result, life’s problems, merging with creativity, turn into images.
Thus, it was concluded that in the current political, economic and cultural state, such a social group of society as young people is looking for where and how to realize themselves in the creative aspect. It is the festival movement that can become this aspect and help young people develop not only spiritually, but also creatively. The above convincingly proves that the activities of organizing festivals play a huge role in this formation.
Bibliography
Belova A.S. Intercultural dialogue and spiritual and moral development of personality through the means of art // Pedagogy of Art (electronic journal), No. 4, 2011.
Belousov Ya.P. Holidays old and new. - Alma-Ata, 2006.
Benifand A.V. Holidays: essence, history, modernity. - Krasnoyarsk, 2006.
Bibartseva T.S. Educational and game training for specialists in the socio-cultural sphere. St. Petersburg, 1999.
Birzhenyuk G.M. Markov A.P. Fundamentals of regional cultural policy and the formation of cultural and leisure programs, St. Petersburg, 1999.-128P.
Dragicevic-Sesic M., Stojkovic B. Culture: management, animation, marketing. - Novosibirsk: Tigra, 2000.
Zharkov HELL. Technology of cultural and leisure activities. - M.: MGUK, 1998.
Zimin A. A. Holidays and rituals. – M.: Vekha, 2006.
Ilyin V.I. Everyday life and holiday. // Consumption as a discourse. – St. Petersburg: Intersocis, 2008.
Mazaev A.I.. Holiday as a social and artistic phenomenon: Experience of historical and theoretical research. – M.: Nauka, 1978. – p.21.
The article is devoted to the phenomenon of “youth culture” and its role in the succession of generations. The author analyzes the importance of communications in the course of recreational activities as an aid in determining the social roles and the formation of creative activity. Based on the study set a number of features in the organization of leisure of youth and the implementation of creative needs of this social group.
What a festival it is
This festival is already the third in a row. The popularity of the festival is growing and attracting more and more new groups and soloists. This year, thirty-five contestants took part in it, selected at a casting from seventy announced ensembles and performers. The level of the competitors is different: there are very strong teams, almost professional, and very weak ones, which are quite boring to listen to. That’s why the competition program was supposed to isolate grains of gold from the sea of sand, and there were such. True, the main arbiter, the legend of Russian musical life Artemy Troitsky, whose voice should be decisive in separating the wheat from the chaff, this time was the “wedding general”.
A separate item in the festival program is the “Crafts Fair”, which this time took place on the territory of the Shushenskoye Museum-Reserve. There you could not only look at, but buy the products of master craftsmen (clay jugs, wooden dishes, wicker lace, pagan amulets, etc.), but also hit the anvil with a hammer in a blacksmith’s workshop or create a small one with your own hands using a potter masterpiece - clay pot.
The festival included a night of an ancient pagan ritual - ritual. Beating the tambourine, singing and dancing around the fire. For the first time, 7 sorcerers from Tyva, Khakassia and the Krasnoyarsk Territory are trying to bring themselves to ecstasy in order to drive away everything bad from the festival and the people at it. At its head is the powerful and formidable Ai-Churek Oyun, known from past festivals. This time she needed more strength and attracted helpers.
The ancient ritual impresses even non-skeptics. Thousands of people stand in a single circle. For the magic to happen, you need to touch your bodies and scream.
In the center of the circle, in addition to the fire, there is a sacred tree. The shamans tied it with ribbons and surrounded it with enchanted branches and cones. Before the ritual began, you could touch it and make a wish, you could stand longer.
The ritual this year was complex - both for security and for the weather and for luck. At first, the sorcerers were even against filming and photography. Kamlanie is a very intimate and energetically complex process. It develops according to its own laws and rules. Shamans never lose their rhythm and remember the ritual objects. The fire is sprinkled, the tambourines are raised and lowered. But in their state of altered consciousness, the shamans do not pay attention to the fact that by the middle of the ritual the circle of people around them becomes narrower, many, together with the sorcerers, enter a semi-trance. Many, on the contrary, are afraid to even approach. The ritual lasts about three hours. Few survive the ritual to the end. Because they don’t have a festival with their own god - music. Literally across the road from the shaman's clearing at the stadium, discos do not stop all night. There are DJ sets on the site until the early morning. The best bands and clubbers of the world from London, Moscow and other cities introduce the crowd with trance music. Instead of tambourines, there are completely different instruments here. eleven
“The braid is a girl’s beauty, stop dangling over your shoulders, it’s time to get out of the way.” Personally, I only knew the first part of this folk wisdom, but the whole meaning is lost. The braid was a girl's hairstyle, and as soon as the girl got married, the braids were tucked under a closed headdress called a kichka. Nadezhda Stepanovna, the director of the Children's Folk Center, came to the Sayan Ring ethnic music festival as part of the Pleten ensemble. She has been studying the life and clothing of the Slavs for a long time. She believes that it would be a good idea for us modern people to learn from our ancestors. After all, they lived in harmony with nature and even through clothing and everyday life they tried to protect themselves from evil forces and attract good ones to their side. Is it worth adopting Japanese or Indian wisdom, which are so popular with us today, if we have all this too? Nadezhda Nikolaevna finds many interesting differences in the culture of the Slavs and modern Russians. For example, “cuckold” for us means to change. And our ancestors wore horns boldly and even proudly. “The kittens of married women were often horned,” says Nadezhda Nikolaevna. “Unlike modern people, our ancestors perceived horns as a symbol of fertility. The woman walked around with horns until she could bear children.” Girls' hats were open, women's were closed. This is where the expression “goof off” comes from. No one should have seen the hair of a married woman. Russian women never cut their hair, and men never cut their beards. In general, an unemployed man was considered defective, all this is not news to us, after all, have you heard about Samson, whose hair was cut by Delilah, and as a result he lost his heroic strength? Like many other peoples, the Slavs believed that strength lies in hair. For example, the Khakass wore their hair and nails in an embroidered bag on their chest, just like the Khakas, the Russians had manists. This is an ornament that covers the neck. It was believed that the neck and chest were the most vulnerable places. Buddhist monks and Hare Krishnas think the same way. They all say out loud that there must be at least some kind of jewelry on the neck. It is believed that one can “get into the soul” through this vulnerable spot. But the Slavs not only tried to scare away bad energy, but also to attract good energy. Initially, red, the color of energy and strength, was worn on days of difficult work: the beginning of haymaking and sowing, only then this color became festive, since it already accompanied the end of the harvest. And during the period when the harvest was harvested, a wedding was held in Rus'. And young people were often dressed in red. We are often surprised by the customs of our ancestors, but we ourselves do not notice that sometimes we follow them. Let's take a pin and pin it on our clothes so that they don't jinx it. This year's innovation was the “city of craftsmen”. There you could not only buy various handicrafts (you could leave with purchases from previous festivals), but also see how these things come into being. And some masters even gave the audience the opportunity to participate in the process themselves. It was never empty near the potter's wheel. Everyone wanted to make a clay product with their own hands. Although in reality it turned out to be not entirely our own. Some tried to conquer the potter's wheel themselves - crookedly, but their own way, while others completely trusted an experienced master. 14
Vladlen Durov, a blacksmith from the Vissarion community, brought a wooden pavilion to the festival, with a furnace, an anvil and other equipment without which blacksmithing is impossible. Vladlen and his two assistants specialize in making axes from Damascus steel. It is famous for the intricate pattern that forms on its surface.
Just for such a pattern to appear, it is necessary to make multilayer metal, up to 250 layers, and then “open” it. Vladlen's ax blanks are even bought by workshops that manufacture collectible weapons. And Vladlen himself likes to hand over his products personally to the buyer in order to see what kind of person will use his ax.
Experiment time
Experimental groups make up a large part of the festival; there are plenty of them among both participants and guests. The Novosibirsk ensemble “Seventh Heaven” itself cannot decide what kind of intricate musical path it has chosen. “Our work does not use any folklore in its pure form, of course,” says the group’s vocalist Victoria Chekovaya. - There is a process of absorbing all the music that you hear, and then processing and creating something of your own. Most often, the motives of Russian music appear, simply because we ourselves, Russians.”
From tops to roots
And yet, the main value of the festival is the presence of authentic (that is, coming from the original source) music. Last year, the team “Kylysakh” became a real star, a discovery. He amazed everyone with the color of Yakut songs and playing the khamus. The team is very prepared, not only musically. The musicians’ well-developed style and demeanor - everything indicates that the band is ready to “export”. The success of Tuvan, Yakut, Khakass groups abroad is colossal. Stepanida, a member of the Ailanys ensemble from Abakan, says: “Khakassian culture is new. Not much is known about her in America. Khakass groups often go there on tour. But in our country we are practically unfamiliar with this culture. We traveled to twenty cities of Russia, and everywhere we were warmly greeted, but there are almost no people who know the work of Khakass groups well.”
Therefore, it is not surprising that in the new year the Grand Prix of the festival was won by a Khakass group that performs authentic music. The Khakass song and dance ensemble “Ugler” is not unique. He is, perhaps, recognized as simply the best among the Khakass groups, of which there are traditionally many on the Sayan Ring.
One of the most striking events of the fair was the master class of the ensemble “Pleten” - a collective of the Shushensky Museum-Reserve. The ensemble presented a wedding ceremony and traditional Russian wedding games, in which ancient objects and symbols were involved, and authentic songs were sung at the performance. Spectators were also involved in the “wedding” and games. During the show, the ensemble members used authentic items used in 19th-century wedding ceremonies, including a homemade towel and a whip that was used to whip the bride to protect her from the evil eye. The costumes of the team members are made according to sketches recreated from ethnographic samples. By the way, a professional choreographer works with the Pleten ensemble. The clothing, songs and dances of the group represent various directions of Russian tradition with a predominance of southern Russian motifs.
The festival's guest, the famous Mola Sila, performed improvisation in African traditions and European free-jazz. Propa Ghandi, a DJ from London, also performed. And in the evening, everyone on the banks of the Shush River celebrated Ivan Kupala Day. According to all the traditions: with throwing wreaths into the water, searching for a fern flower and jumping over a fire. For the festival this year, special equipment was purchased for the first time. 15
The festival ended with a traditional galo concert with awarding of diploma winners in nine categories. For this occasion, Governor Alexander Khloponin specially flew to Shushenskoye - his charitable foundation is the main financial partner for the organizers of the ethnic festival from year to year. Speaking before the start of the final hit parade, Alexander Gennadievich noted that the festival has good prospects in the future.
Relevance of the Sayan Ring festival
Siberia is one of the world's reserves, where a bouquet of ethnic traditions and cultures has been preserved in their original form. Art and traditions are what unites all the territories of the “Sayan Ring”: Taimyr, Buryatia, Khakassia, Tyva, Krasnoyarsk Territory, Kemerovo and Irkutsk regions into a single unique Siberia.
In people's lives, various social, psychological and other conflicts arise that cannot always be resolved. As they accumulate, they sometimes lead to a person’s psychological or social “breakdown.” Art and creativity allows you to internally resolve conflict and relieve psychological stress. Ethnic PR companies are needed in multi-ethnic regions. They create a communicative aspect and ensure the transfer of ethnocultural information between generations.
The Sayan Ring festival is an extravaganza of ethnic music. The authentic sound of folk instruments, a living voice, ceremonial and ritual chants - this is what attracts audiences from all over Siberia. Even chamber performers adapt to the festival format. Even Vartan Markos, the former Markosyan, spoke. His violin on the Sayan Ring amuses us with Russian folk music. On the festival stage there are bands from all over the world. There are Hungarians, Tuvans, Englishmen and even a guest from Senigal on the Sayan Ring. African Mola Sylla performs a duet with a St. Petersburg resident. And the black vocalist sings about love - as is customary in his homeland. “The Sayan Ring” is also a professional festival; thirty groups competed for the main prize, but the ensemble “Ugler” won the grand prize.
The songs and dances of peoples carry the deep energy of our ancestors through the centuries. By preserving and passing them on to subsequent generations, we seem to support the fire of multinational traditions in our common home called Earth. By studying the culture of peoples, we get to know each other better, which means we learn to be friends and become closer. Therefore, our festival has a peacekeeping mission. The Sayan Ring is an ethnic festival that should be cherished by all residents of Siberia. Even seasoned musicians are sure of this. Nothing like this can be found in Russia or abroad.
Interest in traditional forms of cultural acquaintance has sharply decreased: reading, mastering the rules and norms of the native language; cultural nihilism and disdain for cultural and historical heritage are manifested everywhere; there is a reassessment of values, a departure from spiritual and moral to material and pragmatic guidelines in life.
Hence the need to introduce the younger generation to the basics of Russian culture, part of which is the native language and native literature, which allows young people to recognize themselves as bearers of national culture, an exponent of the national mentality.
When organizing educational work with children, we strive to use modern pedagogical technologies, one of which is the “project method”. Since 2010, on the basis of the school methodological association of teachers of the humanities, a long-term project “Literary and Musical Living Room” has been implemented.
During the period of general transition to the information society, the intensity and quality of children's reading is decreasing. The substitutive influence on reading of such means of communication as television, the Internet, audio and video products is becoming increasingly obvious. The dissonance between children's and youth reading and the growing role of reading activity in the modernizing Russian society can lead to a decrease in the informational and general cultural competence of the younger generation.
The main idea of the project
Literature plays an important role in the comprehensive development of students’ personality, in mastering the cultural heritage of society, in the formation of a spiritually rich personality with high moral ideals and aesthetic needs.
The focus of the program is not only to introduce schoolchildren to the biographical information and works of writers, to visit literary museums, but to trace the main stages of work on works, try to penetrate their deep meaning, and awaken the desire for creativity.
The relevance of the work lies in the fact that today modern schoolchildren often learn about the life of writers and poets only from textbooks and other printed sources, but the project will teach children to look at literary works differently, to see in them a piece of the life of writers.
Expanding the range of reading, improving the quality of reading, the level of perception and depth of penetration into a literary text becomes an important means for maintaining this foundation at all stages of the study of literature.
“Reading is the best teaching,” he asserted. In order for reading to become interesting, thoughtful, affecting the mind and soul of the student, it is necessary to develop the emotional perception of students, to develop the need for reading, for a book.
From a pedagogical point of view, such a creative association is necessary for the school, since it contributes, firstly, to a better assimilation of literature, and secondly, it will teach children to feel the historical era shown in the work.
The specificity of this course is determined by the nature of the main learning objectives, namely:
Arming students with the basics of knowledge in the relevant field of science (cognitive goal);
Formation of necessary skills in schoolchildren on the basis of acquired knowledge (practical goal);
Education and development of students using the means of the subject of study (general subject didactic goals).
Psychological and pedagogical understanding of the socio-cultural processes against the background of which the formation of a student reader takes place; designation of pedagogical, psychological, methodological, moral priorities and principles of modern education, which involve considering reading not only as a result of subject learning, but also as an indicator of students’ personal growth, a factor in their social success.
Social problem of the project
Today, the reading culture of the individual is highly valued by the world community: 2003–2013 was declared by the UN as the decade of literacy. However, in Russia, as in many countries of the world, there is a decline in the level of reading culture of the population. As a result of a huge number of changes in the life of society over the past twenty years, the status of reading, its role, and attitudes towards it are changing greatly. The problem of reading is in the area of particular attention. The urgency of the problem of loss of interest in reading has caused a reaction in the country. The Russian Book Union has developed and is currently implementing the “National Program for the Support and Development of Reading”, designed for 14 years, until 2020, in order to counteract the decline in interest in reading, based on an understanding of the role of reading in the development of society.
“In Russia, the share of the “reading population” is decreasing,” this opinion was expressed by the President of the Russian Book Union, Sergei Stepashin.
According to research by library workers, 90% of people come to the library to buy books they need for study or work. Such pragmatic reading provides food for the mind, but does not form a system of moral and aesthetic ideals of the individual.
Pedagogical problem of the project
The pedagogical problem of the project can be most clearly seen on the basis of the existing contradictions in education today:
Declining interest in reading among the younger generation and the need to maintain a stable emotional interest in literature and reading;
Reducing the number of hours for studying literature, starting from elementary school - (3 hours) for literary reading and a new look at educating a reader in elementary school;
Objective of the project
Project goals :
develop the creative abilities of schoolchildren, help everyone in self-expression, stimulate interest in the spiritual wealth of Russia and world culture, develop the emotional sphere of the child as the basis for the formation of a culture of feelings, introduce them to the world of art, cultivate aesthetic taste, develop research skills and communication skills in different situations, introduce students with the life and work of writers, consider the basic literary terms (in relation to works studied at school and works outside the school curriculum).
Project objectives .
educational:
Study the life and work of world famous writers;
Train students in linguistic text analysis skills;
Teach students to competently draw up a script for the planned event.
developing:
To develop students' interest in research and creative work;
Develop students’ communication skills and cognitive activity;
Develop students' stage skills.
educational:
To cultivate students’ interest in studying literary works, the biography of the writer, and the historical era;
To instill in students a caring attitude towards books and historical values.
Sometimes the texts of works of art are directly related to the biography of the author, so visiting museums plays an important role: a detailed story about the life of a writer or poet, getting to know museum exhibits, things that take you back to the era of the writer’s life, teaching children to look at the text of a work of art differently, see essential details, understand the meaning of the book more deeply.
Project objectives
s Identification and design of optimal psychological and pedagogical conditions that contribute to the formation of the foundations of reading competence of schoolchildren, developing creative and logical thinking of students in working with information, forming the skill of conscious reading: teaching technologies, methods and techniques, forms of organizing activities, systems of special exercises.
s Development of a passion for reading, the need for regular reading through the use of various forms of classroom, extracurricular, and extracurricular activities.
s Creation of a single reading space based on interaction: student - teacher - parent - librarian.
s Determining ways to use this project in the development of personal growth of students, revealing their natural abilities.
Principles for implementing the project theme
The approach to learning is based on the following principles:
Reliance on students’ existing knowledge and skills;
Taking into account the individual characteristics of students;
Creating conditions for knowledge acquisition;
Trusting, humane forms and methods of communication in the learning process.
To create the atmosphere of the Literary Living Room, a special equipped room (Pushkin Room) is used;
multimedia resources (computer, projector, DVD player)
Project strengths
Our Literary Lounge has acquired a special, unique specificity: communication with the world of literature and its representatives (poets, writers, composers and artists) does not take place in absentia, but in the form of a “live dialogue”, where a famous poet has the same rights to their own point of view , writer, artist, and student. Here, a conversation “on equal terms” is possible, and therefore the creation of conditions for self-discovery, self-development and self-improvement of the student.
Features of the project organization
This training project is based on the Programs of General Educational Institutions in Literature, edited by.
The project corresponds to the age-related psychological and physiological characteristics of middle and senior students.
Students are taught on the basis of a student-oriented approach, which involves an individual approach and the amount of material mastered in accordance with the abilities and inclinations of each student. Training is carried out in stages: from simple to complex. The duration of the project is five academic years.
When teaching students, both group and individual forms of work are used. Meetings are held once or twice a month for 2 hours. As a result of completing the course, the children develop and deepen their knowledge about the lives of writers and poets, which allows them to instill a strong interest in Russian literature.
Project forms and methods
For more effective implementation of the project, it is proposed to use various forms of classes. First of all, these are group classes, since group classes help schoolchildren master theoretical material and develop work skills.
The pedagogical process is based on the principle of an individual approach to each student. The task of an individual approach is to determine the individual capabilities of each child, the formation of his personality. An individual approach helps the student to most successfully master the material and stimulates his creative abilities.
According to didactic goals and objectives, training is divided into the following types:
Getting to know the life and work of writers and poets;
Creative works;
Literary games, quizzes, KVN;
Literary and musical works.
During classes within the framework of the project, all forms and methods are interdependent and are used in a complex. Along with such forms as story, explanation, visual and illustrative methods are used, such as visiting museums, watching feature films.
The main idea of the proposed program is the study of literature from myths to folklore, from folklore to ancient Russian literature, from it to the literature of the 18th, 19th and 20th centuries, a systematic orientation (a horizontal system of familiarization with the literature of different centuries).
It is this idea that the concentric approach helps to lead students to an understanding of the work of an individual writer and the literary process as a whole, poetics, literary trends, movements, etc.
Forms of work:
Lectures, conversations, dialogues, discussions, discussions, design, competitions, workshops, excursions to literary and historical places, participation in creative competitions and festivals.
Lesson mode : 1) preparatory stage; 2) meetings in the living room 1-2 times a month according to the work plan of the Literary Living Room
Expected results and ways to check them:
*Degree of activity (visiting, creating your own projects of literary and musical compositions);
* communication skills through participation in the discussion and defense of their projects;
* performances on stage;
* improving reading technique (competitions, rehearsals)
Students should know:
Features of the performance of lyrics and prose.
Fundamentals of plot-plot analysis of a literary work.
Design principles.
Students should be able to:
Improvise, compose editing, script.
Organize group work when discussing a problem.
Create a project.
Project implementation forms:
1 . Features of speech culture (dramatization of works of different genres)
2. The role of literary analysis in director's work with dramaturgy (testing in literary criticism, project competition, survey on the success of projects when staging a concert).
3 . Theatrical activities (competition for the best role of a dramatic hero).
4. Excursions to literary and historical places.
5. Visiting theaters.
Project hypothesis
Creating a space for emotional and moral communication in a circle of comrades, like-minded people, passionate and caring people. The literary project, created at first as a purely literary project, led students to a gradual understanding of the connection between literature and life and a rapprochement with another school project “School Museum”. The consequence of this was a series of binary literary-historical events held in the school Museum of Military Glory.
Expected Results
1. Helps students evaluate the significance of literature, give a personal assessment of the work they read, i.e., forms an emotionally significant attitude towards literature.
2. Develops communicative activity and creativity through the creation of one’s own works and poems.
3. Expands interest in fiction, memoirs, and documentary literature.
4. Stimulates interest in various forms of creative work (abstracts, messages, creative works, projects, comparative characteristics, etc.); develops children's creative abilities and their literary gift; helps everyone in self-expression; stimulates interest in the spiritual wealth of Russia and world culture; develops the child’s emotional sphere as the basis for the formation of a “culture of feelings”; introduces you to the world of art; develops aesthetic taste; forms research skills.
Project performance criteria and indicators
Positive dynamics in the formation of the initial foundations of reading competence: there is an increase in the level of development of fluent, meaningful, expressive reading skills.
A high degree of interest of parents in solving the problem of forming the spiritual and moral education of schoolchildren: participation in extracurricular activities, parent-teacher meetings, organization of joint leisure activities. Development of children's literary and creative abilities: participation in reading competitions, literary lounges, quizzes on read works, literary festivals.
1) 04/24/2012 Seminar for deputy directors on educational work. Literary lounge “Test of Pen”;
2) Annual regional Literary Festival (2011, 2012, 2013);
3) Article in the newspaper “Tosnensky Vestnik” (October 2010);
Article in the Tosnensky Vestnik newspaper “Learning with passion” (December 2011);
Article in the Tosnensky Vestnik newspaper “Test of the Pen” (February 2013);
4) Third place in the All-Russian poetry competition “Treasured Lyre”.
5) Regional competition “Young Journalist”. Second place in the “Television Journalism” category. (Video about the work of the Literary Lounge); first place in the “Newspaper Journalism” category. (Article about the Literary Lounge). January 2013
6) Third place in the regional stage of the All-Russian competition for leaders of children's public associations “Leader of the 21st Century.” (2012)
7) First place in the municipal stage of the Regional competition of children's creativity on road safety in the category “Literary creativity”. (March 2013)
Steady positive dynamics of students' conscious choice of books in accordance with age: 70% of school students are active readers of the rural library, 25% regularly visit the Central Children's Library in Tosno.
Pedagogical tools for achieving set goals and objectives
Descriptive-analytical (study and analysis of psychological and pedagogical methodological literature on the project problem); socio-pedagogical (questioning of students and their parents, conversations, targeted observation of the educational process, analysis of students’ creative works); statistical summary of results).
PROJECT DESCRIPTION
Theoretical background
The theoretical basis of the project consists of leading ideas:
Activity approach to learning (,);
The idea of taking into account age characteristics in the formation of moral principles of schoolchildren (,);
Theory of speech communication, speech activity (,);
The theory of the leading role of reading in the development of schoolchildren’s personality;
General didactic provisions for the formation of students’ skills and abilities ();
Methodological and theoretical studies of the reading process and the characteristics of its development (,);
Regulatory legal framework of the project
1. Program of general educational institutions “Literature”, edited, 7th edition, M. Education 2010
3) Library collection, including reference literature.
Internet resources
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s http://*****/
Introduction
Chapter 1. Music festival as a form of dialogue: theoretical aspect
§ 1. Festival in the system of cultural communication
§ 2. Cultural potential of a music festival
§ 3. The problem of the origins of the modern music festival: improvisational creativity and
dialogue of cultures
Chapter 2. Music festival in the dialogical space of modern culture
§ 1. Music festival as a sociocultural phenomenon
§ 2. Models of a modern music festival
§ 3. Music festival in meaning
postmodern project
Conclusion
Bibliography
Introduction of the dissertation (part of the abstract) on the topic “Music festival in the dialogue of cultures”
INTRODUCTION
At the turn of the millennium, a new artistic picture of the world is emerging, due to the complex processes of globalization, the development of a post-industrial model of society and the economy, man-made changes, the rapid development of worldwide communication systems (the global Internet) and other factors. All this influences a person’s worldview, the nature of his interaction with the external environment and society, spiritual and creative self-expression in the spheres of art, religion, and philosophy. In the modern world, new forms of cultural creativity are constantly emerging, which coexist with traditional ones, and sometimes displace them.
In recent decades, one of the most popular forms
interaction between people in modern culture has become a festival.
The festival movement in Europe, the USA and Russia is constantly expanding,
capturing increasingly vast layers of cultural space. Not
exception and the music festival movement. Musical
The festival is a bright and original phenomenon. At first glance, it appears to be developing
regardless of global social and political processes and has
your internal logic. Meanwhile, the change in the nature of perception of this
phenomenon reveals the presence of patterns in festival events
on a general cultural scale: the music festival movement can
be placed on a par with other cultural phenomena in
space of modernity. In the context of cultural studies
the music festival begins to be perceived as a sociocultural
phenomenon, a specific form of intercultural communication, within
which realizes the creative and intellectual intentions of our
time. Indeed, in recent decades the music festival
stepped beyond the scope of a musical event and acquired significance as a form of cultural communication. It is increasingly becoming one of the main forms of contact between performers and the listening audience. At the same time, the music festival has not yet become the object of close attention and study by specialists studying the general patterns of development of modern culture and cultural communication, theorists, historians and sociologists of culture. Music festival projects continue to be described and studied from the perspective of applied knowledge about the dynamics of the modern performing and creative process, rather, noting their diversity, content, range of participants, etc. Thus, there is a need to understand the music festival as a phenomenon of modern culture, included in the system of dialogic relations between different national cultures. This determines the relevance of this study.
The degree of scientific development of the problem.
The most significant in the context of the dissertation are the works of M.M. Bakhtin, creator of the cultural concept of dialogue, founder of the school of “dialogue of cultures” B.C. Bibler, European and domestic scientists M. Buber (creator of the religious “philosophy of dialogue”), his follower E. Levinas, Yu.M. Lotman (creator of the semiotic concept of cultural dialogue), representatives of the Western “philosophy of dialogue” F. Rosenzweig, O. Rosenstock-Hüssy, author of the “pedagogy of dialogue” method P. Freire1. Along with this dialogue,
1 Bakhtin M.M. Philosophical aesthetics of the 1920s / Collection. op.: in 7 volumes; Institute of World Literature named after. A.M.Gorky RAS.- M.: Rus. dictionaries; Languages of Slavic cultures, 2003.- T. 1. - 957 e.; Bakhtin M.M. Problems of Dostoevsky's poetics: works of the 1960-1970s. / Collection op.: in 7 volumes; Institute of World Literature named after. A.M. Gorky RAS. - M.: Rus. dictionaries; Languages of Slavic cultures, 2002. - T. 6. -
800 units; Bibler B.C. Culture. Dialogue of cultures (definition experience) / Issue. philosophy. - 1989. - No. 6. - P.31-42; Bibler B.C. From scientific teaching to the logic of culture. Two philosophical introductions to the twenty-first century. -M.: Politizdat, 1991.-413 pp.;BuberM. Two images of faith. - M.: Republic, 1995.-494 p. - (Thinkers XX
century); Levinas E. Time and the other = Le temps et l"autre; Humanism of another person = Humanisme de l"autre
psychological research J.I.C. Vygotsky2, in which dialogue is studied as a mechanism of human thinking, aimed at the individual himself and “at others.”
Understanding the role of the music festival in the structure of sociocultural interactions of our time was facilitated by works devoted to the theory of communication. The philosophical justification for the category of “communication” is presented in the works of existentialists K. Jaspers and J.-P. Sartre, as well as in the theory of communicative action of J. Habermas3. Problems of the general theory of communication, the study of the mechanisms of sociocultural, interpersonal, intracultural and intercultural communication are reflected in the works of G.M. Andreeva, S.N. Artanovsky, N.M. Bogolyubova, S.B. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagana, A.B. Kovalenko, V.P. Konetskaya, G. Laswell, A.N. Leontyev, M. McLuhan, Yu.V. Nikolaeva, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, X. Raimann, A.P. Sadokhina, A.B. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others4.
homme / E. Levinas; lane from fr. A.B. Paribka. - SPb.: Higher. religious-philosophical school, 1998. - 265 euros; Levinas E. The Path to the Other / E. Levinas; lane E. Bakhtina. - St. Petersburg: St. Petersburg Publishing House. University, 2007. - 240 e.; Lotman Yu.M. Mechanisms of dialogue // Semiosphere: Culture and Explosion. Inside thinking worlds. Articles. Research. Notes (1968-1992). - St. Petersburg: Art-SPb., 2004. - P. 268-276; Rosenstock-Hüssi O. God makes us speak. - M.: Canon+ “Rehabilitation”, 1998. - 288 p. - (Series “History of Philosophy in Monuments”); Rosenstock-Hüssi O. Speech and reality. - M.: Labyrinth, 2008. - 272 p.
2 Vygotsky L.S. Thinking and speech. - M.: Labyrinth, 2008. - 352 p.
J Jaspers K. The meaning and purpose of history / trans. with him. - M.: Politizdat, 1991. - 527 p. - (Thinkers of the 20th century); Sartre J.-P. Problems of the method / trans. from French; note V. P. Gaidamaki. - M.: Academic project, 2008. -224 e.; Habermas Yu. Moral consciousness and communicative action / trans. with German; edited by D.V. Sklyadneva, afterword. B.V. Markova. - St. Petersburg: Nauka, 2000. - 380 p. - (“The Word about Existence”),
4 Andreeva G.M. Attributive processes in conditions of joint activity // Communication and optimization of joint activity. - M.: Moscow State University Publishing House, 1987. - P. 152 - 166; Artanovsky S.N. At the crossroads of ideas and civilizations: East. Forms of communication between peoples: world cult, contacts, multinational. state. - St. Petersburg. : SPbGAK, 1994. - 224 e.; Bogolyubova N.M. Intercultural communication and international cultural exchange / N.M. Bogolyubova, Yu.V. Nikolaev. - St. Petersburg: SPbKO, 2009. - 415 euros; Bogolyubova N.M. Cultural exchange in the system of international relations / N.M. Bogolyubova, Yu.V. Nikolaev. - St. Petersburg: St. Petersburg State University Publishing House, 2003. - 192 units; Borisnev S.B. Sociology of communication: textbook. village - M.: UNITY-DANA, 2003. - 270 e.; Dridze T.M. Text activity in the structure of social communication. Problems of semiosociopsychology. - M.: Nauka, 1984. - 268 e.; Dridze T.M. Language and social psychology. - M.: Higher. school, 1980. - 224 e.; Erasov B.M. Social cultural studies: / textbook. 3rd ed., add. and processed - M.: Aspect Press, 2000. -591 e.; Kagan M.S. The world of communication: the problem of intersubjective relations - M.: Politizdat, 1988. - 319 p. - (What are philosophers working on and arguing about); Kovalenko A.B. Culture and mass communication. - M; Science, 1986. - 303 e.; Konetskaya V.P. Sociology of communication. / Int. University of Business and Management. - M., 1997. - 304 e.; Leontyev A.N. Psychology of communication. - M.: Meaning:
The study of the festival as a specific form of organizing cultural communication is presented only in individual works with a social and practical orientation. These include works in the field of sociology of art and sociocultural activities, including the works of N.V. Garustovich, N.A. Zapesotskaya and A.M. Menshikova5.
The historical formation and development of the festival form (in particular, music) and the festival movement have not previously been covered as a topic for independent research. Certain aspects of this problem are covered by J. Huizinga6 (the question of the origin of the festive spectacle based on the game), the history of ritual and play actions and folk festive forms in the Middle Ages and the Renaissance in the works
M.M. Bakhtina, V.P. Darkevich, M.A. Saponova), processes of festival artistic practice at the turn of the 19th - 20th centuries. in publications by I.A. Azizyan, A. Artaud, J. Cocteau, A.M. Menshikova, G.G. Pospelov and others8.
Academia, 2008. - 365 euros; McLuhan M. Understanding Media: External Extensions of Man = Understanding Media: The Extensions of Man /. - M.: Kuchkovo pole, 2007. - 464 e.; McLuhan M. The Medium is the Massage: An Inventory of Effects / M. McLuhan, Q. Fiore. - N.Y.: Random House, 1967. - 160 p.; Petrov L.V. Communications in culture: processes and phenomena / L.V. Petrov. - St. Petersburg: Nestor, 2005. - 197 e.; Pocheptsov G.G. Theory of communication / G.G. Pocheptsov. - M.: Refl-book, 2001. - 656 euros; Sadokhin A.P. Intercultural communication: textbook. village - M.: Alfa-M: INFRA-M, 2004. - 288 e.; Sokolov A.V. General theory of social communication: textbook. village - St. Petersburg: Publishing house Mikhailov V.A., 2002. - 460 e.; Sharkov F.I. Communicology: foundations of communication theory: textbook. / F.I. Sharkov. - M.: Publishing-trading. Dashkov and Co. Corporation, 2010 - 592 euros; Hartley J. Communication, cultural and media studies: the Key Concepts / J. Hartley; with additional material by M. Montgomery, E. Rennie and M. Brennan. - Third Edition. - & New York: Routledge, Taylor & Francis Group, 2004. - 262 p.
5 Garustovich H.B. Producer activity in the modern sociocultural sphere of the Republic of Belarus: abstract. dis. ...cand. ped. Sciences: 13.00.05 / Belarusian State. University of Culture. - Minsk, 2003. - 20th; Zapesotskaya N.A. Project culture as the basis of professional skills of a manager in the socio-cultural sphere: abstract of thesis. dis. ...cand. ped. Sciences: 13.00.05 / SPbGUKI. - St. Petersburg, 2007. - 20th; Menshikov A.M. Festival as a sociocultural phenomenon of the modern theatrical process: abstract. dis. ...cand. Art history: 17.00.01 / RATI (GITIS). -M., 2004.-20 p.
6 Huizinga J. Homo ludens. In the Shadow of Tomorrow / J. Huizinga. General ed. and after. G.M. Tavrizyan. - M.: Publishing house. group "Progress", "Progress Academy", 1992. -464 p.
7 Bakhtin M.M. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance / M.M. Bakhtin. -2nd ed. - M.: Artist. lit., 1990. - 543 e.; Darkevich V.P. Folk culture of the Middle Ages: secular festive life in the art of the 9th-16th centuries. - M.: Art, 1988 - 343 e.; Salonov M.A. Minstrels: a book about the music of medieval Europe / M.A. Saponov. - M.: Classics-XX1, 2004. - 400 p.
8 Azizyan I.A. Search for a synthesis of arts // Dialogue of the Arts of the Silver Age. - M.: Progress-tradition, 2001. - P. 245-306, 333-345; Arto A. Theater and its double. - M.: Martis, 1993; Cocteau J. Rooster and Harlequin. - St. Petersburg: Crystal, 2000. - P. 609-612; Menshikov A.M. Festival as a sociocultural phenomenon of the modern theatrical process: abstract. dis. ...cand. Art history: 17.00.01 / RATI (GITIS). - M., 2004. - 20
In the context of the study, works that illuminate the content of current geocultural processes of our time were of great importance. This explains the appeal to works that reflect various aspects of globalization processes. Among the most significant works are S. Bereshva, V.P. Bolshakova, V. Galetskosh, L.E. Grinina, K.K. Kolina, A.A. Koroleva, A.V. Kostina, M.A. Muntyan, I.V. Novikova, S.N. Ikonnikova, E.A. Ostrovskoy, R. Park, M.E. Tondera, G.G1 Khorina, A.I. Shendrik and others.9
Problems of the theory and history of musical art, including jazz art, (on the example of which modern trends in the festival movement are considered) are reflected in the works of Russian and foreign researchers E. Barban, F. Bergereau, Yu.T. Vermenich, A.R. Galitsky, G. Grimes, V.D. Konen, Y. Panasier, W. Parker, EL. Rybakova, W. Sargent, Y. Saulsky, M. Stearns, V.B. Feyertag, Yu. Chugunov and others10. However, in these works there is virtually no
e.; Pospelov G.G. Jack of Diamonds: primitiveness and urban folklore in Moscow painting of the 1910s. -M.: Soviet Artist, 1990. P. 9-25.
9 Beregov S. Melting pot [Electronic resource] / S. Beregov. - Access mode: http://www.polemics.ru/articles/?articleID=9333&hideText=0&itemPage=l; Galetsky V. Critical apology for multiculturalism [Electronic resource] / V. Galetsky. - Access mode: http: //www.magazines.russ.ru/druzhba/2006/2/gal4; Grinin L.E. Globalization and national sovereignty. History and modernity. - No. 1. - 2005. - P. 6-31; Colin K.K. Neo-globalism and culture: new threats to national security // Knowledge. Understanding. Skill. - 2005. - No. 2. - P. 104-111; Colin K.K. Neo-globalism and culture: new threats to national security (end) // Knowledge. Understanding. Skill. - 2005. - No. 3. - P. 80-87; Korolev A.A. Methodological seminar “Subject, structure and methods of global studies” // Knowledge. Understanding. Skill. - 2005. - No. 1. - P. 189-191; Kostina A.B. Subject and problem field of global studies // Knowledge. Understanding. Skill. - 2005. - No. 3. - P. 101-102; Muntyan M.A. Globalization: what is it [Electronic resource] / M.A. Muntyan. - Access mode: http://www.ispr.ru/CJNFER/conferl$4.html; Novikova I.V. Globalization, state and market: retrospective and prospect of interaction. - Mn.: Academician. ex. under the President of the Republic Belarus, 2009. -218 euros; Ostrovskaya E.A. Globalization of culture // Theory of culture: textbook. village edited by C.H. Ikonnikova, V.P. Bolshakova. -SPb.: Peter, 2008. - P. 546-565; Theory of culture: textbook. village edited by C.H. Ikonnikova, V.P. Bolshakova. - St. Petersburg: Peter, 2008. - 592 e.; Tondera M.E. Multiethnicity and multiculturalism in the structure of the American nation: history and modernity: diss. ...cand. political Sciences: 23.00.02, 07.00.03 / Institute of World Economy and International Relations Russian Federation. Academy of Sciences. - M. 2005.- 181 e./ Access mode: http: //www.; Khorina G.P. Globalism as an ideology // Knowledge. Understanding. Skill. - 2005. - No. 1. - P. 7178; Shendrik A.I. Globalization in the system of cultural coordinates // Knowledge. Understanding. Skill. -2004. -No. 1.-S. 59-71; A.I. Shendrik//Knowledge. Understanding. Skill. - 2005. - No. 1. - P. 56-68; Park R. Race and Culture.-N.Y., 1950-403 p.
10 Barban E. Jazz portraits: book. 1. - St. Petersburg: Composer, St. Petersburg, 2010. - 304 e.; Barban E. Jazz portraits: book. 2. - St. Petersburg: Composer. St. Petersburg, 2010. - 284 euros; Barban E. Jazz dialogues. - SPb.: Composer. St. Petersburg, 2006. - 304 euros; Barban E. Jazz experiments. - St. Petersburg: Composer, St. Petersburg, 2007. - 336 e.; Bergereau F. History of jazz since the times of bop / F. Bergereau, A. Merlin. - M.: Astrel; Ast, 2004. - 160 e.; Vermenich Yu.T. Jazz: History. Styles. Masters. - M.: Lan:
systematized and generalized material on the history of musical
festival movement. Festival projects from America, Europe and Russia
in the 1930s-2010s. presented in the Internet system of electronic resources."
Studying the current state of the music festival
movements, both in academic and jazz and rock music, prompted
turn to research into general artistic practice of our time
and, in particular, its postmodern tendencies. Various aspects
postmodern theory touched upon in the dissertation are presented in
works of R. Barthes, F. Guattari, J. Deleuze, J. Derrida, W. Eco; the specificity of the artistic creativity of postmodernists is reflected in the studies of J. Bignell, V.V. Bychkova, V.M. Dianova, S.N. Ikonnikova, M. McLuhan, N.B. Mankovskaya, S.T. Makhlina, N.H. Suvorova, H.A. Khrenova, H.A. Shirokova and others.13
Planet of Music, 2011. - 608 euros; Galitsky A.R. The musical language of Dave Brubeck's jazz creativity: abstract. dis. ...cand. art history: 17.00.02 / St. Petersburg. state Conservatory named after H.A. Rimsky-Korsakov, St. Petersburg, 1999. - 23rd; Konen V.D. The Ways of American Music. - M.: Sov. composer, 1977. - 446 euros; Konen V.D. The birth of jazz. - M.: Coa composer, 1984.-311 p.; Panasie Yu. History of authentic jazz [Electronic resource] / Yu. Panasie. - Access mode: http://¡azz-iazz.ru/?category=interesting&altname= yug panaseistoriyapodlinnogo dzhaza: Rybakova E.L. Development of pop music in modern Russia: traditions, research prospects. - St. Petersburg: SPbGUKI, 2006. - 280 e.; Rybakova E.L. International summer seminar in the field of cultural and arts management at the Pori University Consortium, Finland / E.L. Rybakova // Bulletin of Orlovsky State! about the university. -2011. - No.5 - P. 251-253; Sargent W. Jazz: Genesis. Musical language. Aesthetics / W. Sargent. - M.: Music, 1987. - 294 euros; Sterne M. History of jazz [Electr., resource] / M. Sterne. - Access mode: // http: //
jazz-jazz.ru/?category=interesting&altname=marshall_sterns_istoriyadzhaza; Feyertag V.B. Jazz: XX century. -
St. Petersburg: Skifia, 2001. - 564 e.; Chugunov Yu. Soviet jazz: a brief history of Soviet jazz [Electr, resource] / Yu. Chugunov, Yu. Saulsky. - Access mode: // http: // www.norma40.ru/articles/sovetskiv-dzhaz-istoriya.htm.: Grimes G. Sings Along The Road Köln. - Koln: Buddy's Knife Jazzedition, 2007. - 129 p.; Parker W. Who Owns Music? - Koln: Buddy's Knife Jazzedition, 2007. - 141 p.
11 Art Center: international festivals and competitions // http: // www.art-center.ru. - [Electric, resource]; Asian-American Jazz [Electronic resource]. - Access mode: http://en.wikipedia.org/wiki/Asian American_iazz: Music festivals [Electronic resource]. - Access mode: // http: // mfc.su/blog/muzykalnye_festivali/l-0-13; Fifteen main festivals in Europe [Electronic resource]. -Access mode: // http: //www.eventguide.ru/9/: Savitsky D. International jazz festivals. Newport 57 [Electronic resource]. - Access mode: http://www.svobodanews.ru /content/transcript/24323463.html; Guide to jazz festivals // http: // www.iazz.ru/festival/#world. - [Electrician, resource].
12 Bart R. Selected works. Semiotics. Poetry Comp., total. ed. and entry Art. G.K. Kosikova. - M.: Publishing house. group "Progress", 1994. - 615 euros; Deleuze J., Guattari F. Thousands of plateaus. Capitalism and schizophrenia, trans. from fr. and after. ME AND. Svirsky - Establishment of the Russian Acad. Sciences Institute of Philosophy RAS. Ekaterinburg: U-Factoria: Astrel, 2010. - 892 e.; Derrida, J. On Grammatology Trans. from fr. and entry Art. Natalia Avtonomova. - M.: Ad Marginem, 2000. - 511 p.; Eco U. Open work: form and uncertainty in modern poetics. - St. Petersburg: Symposium, 2006. - 412 p.
13 Bychkov V.V. The artistic apocalypse of culture: stromata of the 20th century: in 2 books. - M.: Cultural Revolution, 2008. - Book. 1. - 816 units; Bychkov V.V. The artistic apocalypse of culture: stromata of the 20th century: in 2 books. - M.: Cultural Revolution, 2008. - Book. 2. - 832 e.; Dianova V.M. Postmodernism as a phenomenon
Thus, the lack of monographic studies of the music festival phenomenon makes it relevant to study it from the point of view of cultural science as a phenomenon included in the sociocultural and creative processes of our time. It is necessary to systematize the extensive factual material about the dynamics of the festival movement in the musical art, comparing and contrasting it with the diverse panorama of artistic cultural phenomena at the turn of the 20th-21st centuries.
The object of research is the musical culture of the late XX - early XXI
The subject of the study is a music festival as a specific form of communication in modern culture.
The purpose of the study is to identify the cultural creative potential of the music festival and study it from the perspective of the theory of dialogue of cultures.
Determining the purpose, object and subject of research allows us to formulate a number of research tasks:
1. characterize the phenomenon of the festival in a cultural context, determine its place in the system of modern cultural communication, identify signs of the cultural-dialogical nature of the festival;
2. study the music festival as a special form of cultural creativity, examining this phenomenon in historical dynamics;
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3. identify the origins of the modern music festival by considering the types of music festivals in comparison with “dialogical” types of improvisational creativity;
4. study a music festival as a sociocultural phenomenon in a system of social interactions between individuals belonging to different national communities and cultures, social groups (communities), etc.;
5. explore the main models of the music festival of the 1990s-2010s in relation to their dialogic nature, identify two main types of festivals;
6. analyze the concept of a modern music festival in connection with the artistic practice of postmodernism, considering it as a postmodern project.
Methodological basis and research methods.
The methodological basis of the work is the cultural and philosophical theory of dialogue, developed in the 20th century.
The work also used theoretical-cultural, historical-cultural, sociocultural and comparative-historical research methods. The theoretical-cultural method contributed to the understanding of the festival phenomena, in particular the musical one, in the context of the dialogue of cultures and artistic communication. The use of the historical and cultural method made it possible to consider and comprehend the logic of the formation and development of the festival movement in the space of world artistic culture and, especially, in the field of modern musical art. Turning to the sociocultural method made it possible to study the festival movement in the context of social relations. The comparative historical method was used to
Along with this, the work used a typological method, which helped clarify the typological features of a music festival of recent decades in comparison with the creative principles of postmodernism.
Scientific novelty of the research.
1. A cultural analysis of the festival was carried out from the perspective of a dialogue of cultures, the essence of the festival phenomenon was determined in the context of modern culture.
2. The key characteristics of a music festival are considered and identified: dialogism (dialogical structure), multi-subjective relationships, polycentricity, pluralism, democracy, creative and playful atmosphere, entertainment.
3. During the historical study of the festival movement in music, two types of festival organization were identified: concert-monologue and dialogic.
4. Based on extensive factual material, the origins of a modern music festival of two types are studied and identified: concert-monological and dialogical. It is shown that by the 1990-2010s. In pop-jazz and rock music, a festival of a dialogic type based on improvisational music-making began to predominate.
5. A study was carried out of the music festival movement as a sociocultural phenomenon, in the system of interpersonal and intercultural communication; geocultural factors that had the greatest influence on enhancing the communicative significance of the festival in the second half of the 20th - early 21st centuries were studied.
6. Using the example of organizing modern jazz and rock music festivals, a dialogic context has been identified that dominates the main models of a dialogical festival:
Based on equal relations between participants representing different national traditions;
Based on the synthesis and organic fusion (combination) of ethnonational and creative traditions of various cultures.
7. In order to study postmodern trends in contemporary musical art, materials on festival practice in the 1990-2010s have been summarized and systematized; the refraction of the most important postmodern principles (dialogue, game principle, spontaneity, spontaneity, improvisation, freedom, autonomy, incompleteness, openness, performativity) in the content and spatio-temporal organization of modern festivals is characterized.
Provisions submitted for defense.
1. Musical (Bestival is a specific type of social
cultural dialogue, implemented in forms of creative communication based on pluralism and equality of its participants.
2. Typological features of a music festival, including: dialogism, creative playful atmosphere, representativeness, entertainment and others are formed on the basis of the carnival-festive tradition and creative play-spectacle, play-improvisation of the eras of Antiquity, the Middle Ages and the Renaissance.
3. The basis of a modern music festival is improvisational creativity as an independent form of dialogue between musicians, an alternative to concert practice. The creative act is here
reveals the properties of improvisation-composition and “open work”.
By the 1990-2000s. the form of improvisational music-making prevailed over traditional forms of concert performance.
4. A modern music festival is included in a system of complex sociocultural interactions; in the 2000s it becomes one of the forms of implementation of global intercultural relations. The wide spread of the festival movement in contemporary art is one of the important components of the overall process of globalization and the expansion of creative intercultural communication.
5. The dependence of the festival movement on the sociocultural trends of the time is manifested through the formation of two dialogical models of the festival in the form of a dialogue of cultures: based on equal interaction of participants representing different national traditions and based on the organic fusion and synthesis of various styles and movements of modern music belonging to different national cultures. The second model of the festival is becoming the most popular.
6. The typological characteristics of a modern music festival make it part of postmodern culture, one of its synthetic audiovisual forms.
A jazz festival can be considered indicative of postmodern culture, which belongs to the category of spectacular forms of culture that dominate in times of crisis and bring to life the energy of the collective principle as opposed to the individual and personal. This is due to the need to adapt to the dynamic conditions of existence in a crisis environment, to guarantee stability and resistance to destructive processes in culture.
7. The festival, as a dynamic and dialogical creative event, performs the function of a spontaneous-emotional and creative compensator for its participants.
Theoretical and practical significance of the research.
The materials of the dissertation research have scientific, theoretical and practical significance, since they can be used for the further development of a whole range of problems of the existence of modern musical art in the space of modern culture. They can also be the ideological and theoretical basis for organizing various art festivals.
The dissertation materials can be used in the educational process, in the study of general courses in the theory and history of musical and, more broadly, artistic culture, as well as in creating a special course devoted to the problems of the modern festival movement in the context of cultural communication.
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Conclusion of the dissertation on the topic “Theory and history of culture”, Shirokova, Elena Anatolyevna
The conclusions made during the cultural study of the music festival indicate that this phenomenon must be studied in a broad context, from the standpoint of fundamental humanitarian knowledge. Being a fact of modernity, the music festival reflects all the diversity of levels of cultural existence at the turn of the 20th-21st centuries; it refracts general trends, patterns, and dynamics of cultural development. This explains the significance of further development of the topic “Modern forms of dialogue in culture.” Our subsequent developments will be devoted to its understanding.
CONCLUSION
The music festival is a bright and original phenomenon in the general panorama of modern artistic culture. At first glance, it develops independently of global social and political processes and has its own internal logic. This is how the dynamics of the festival movement are perceived from an applied point of view, in journalistic materials, on the pages of newspapers and magazines, in analytical reviews of art critics. Meanwhile, the change in the nature of the study reveals the presence of patterns on a general cultural scale in festival events: the music festival movement becomes common with other cultural phenomena and begins to manifest its cultural and semantic role in the space of our time. The implementation of such a view of the problem is possible thanks to the application of a cultural approach to the phenomena of musical creativity of the 1990-2000s. In the context of cultural studies, a music festival is perceived as a sociocultural phenomenon, a specific form of intercultural communication, within the framework of which the creative and intellectual intentions of our time are realized.
Asking the question why at the turn of the 20th-21st centuries. prerequisites arise for the total penetration of festival principles into culture, why the festival practically displaces other, primarily concert, forms of communication between performers and spectators; one cannot help but notice that this is due to the current general cultural trend of strengthening the role of intercultural interactions and contacts based on creative dialogue. The main factor that influenced the development of this trend is globalization - the process of worldwide economic, political and cultural integration and unification. On
147 replacement of “monocultures”, organized, as a rule, around one ethnonational, geopolitical, etc. core, a model of global culture comes, in the depths of which complex communicative relationships are established between representatives of various ethnic, national, social and other communities. This explains the manifold increase in the role of the dialogue mechanism in modern culture, and with it those forms of cultural creativity that are based on this mechanism. Thus, in the context of globalization, a music festival is being transformed into a widely popular form of intercultural (sociocultural) dialogue, becoming a kind of platform for dialogic interactions through musical creativity. This allows us to determine its essence from the perspective of cultural studies: a music festival is a specific type of socio-cultural dialogue, implemented in the forms of creative communication based on the pluralism of worldviews of its participants.
Understanding the cultural and historical origins of the music festival, one can come to the conclusion that they have deep roots. Thus, its inherent typological features, including: dialogism, creative-playful atmosphere, representativeness, entertainment - were formed in the eras of Antiquity, the Middle Ages and the Renaissance, in ritual, theatrical-game and carnival-festive environments. As a prototype of the festival form, we can consider ritual-game actions and celebrations organized on the basis of creative play - a competitive dialogue-opposition of at least two parties, or participants. At the same time, the traditions of creative improvisation games, based on spontaneous communication between performers (musicians) and the public, are of particular value for the formation of the idea of a music festival.
During the historical development of the music festival as a special type of spectacle, an academic festival of the concert-monologue type was formed. The concert as a separate creative event and a way of organizing relations between the public and the artist does not imply creative spontaneity in the dialogue of the musician (performer-interpreter, composer, singer) with other performers and the viewer; it has a thematic focus and programmaticity. Therefore, the concert-monologue type festival is based on individual concert programs dedicated to the work of a particular performer (group of performers, or musical group), style direction, musical genre, etc. It should be noted that for a long time this type of festival prevailed in artistic practice.
Approval of the cultural-dialogical function of a music festival in the 20th century. The processes of formation of a single (worldwide) cultural and symbolic space, destruction of Eurocentric stereotypes, integration and interaction of various national traditions, which began at the turn of the 19th and 20th centuries, contributed to this. The result was the development and organization of many creative projects in the form of a festival event, implemented in various fields of art. Subsequently, the growing interest in the festival form is expressed in the practice of musical performance.
The immediate basis of the modern type of festival can be considered improvisational music-making - a form of organizing the interaction of musicians, in which spontaneous communication occurs on the basis of creative exchange-competition. The most important features of improvisational creativity: fundamental semantic content) “openness”, experimentation, variability of the artistic result achieved in the course of music-making, determined its value for modern performers and spectators. If in
1930-1940s jam session (jam session) represented an independent type of creative dialogue, an alternative to concert practice, and later it was re-evaluated. There has been a tendency to synthesize improvisational communication and traditional concert practices. In the structure of jazz festivals of the 1960s-x-l 980s. the idea of improvisation prevailed over the idea of a concert, improvised creative dialogue over compositional performance. In the 1990-2000s. festivals based on improvisational music-making have become the main type of performing practice in jazz. Thus, improvisational dialogue has become the basic model of a jazz festival, influencing the formation of a modern type of festival project with elements of improvised play dialogue.
However, the communicative value of a music festival is not limited to its significance in the structure of interpersonal communication. It is equally important that its space reveals all the diversity and complexity of social interactions between individuals belonging to different national communities and cultures, social groups (communities), etc., a system of interactions between various cultural spheres and institutions. In other words, within the framework of a music festival, the mechanisms of intracultural and intercultural communication are refracted. While studying the history of the festival movement of the 1940-2010s. We discovered that in the middle of the 20th century, festival events were conceived as a way of creative communication between musicians of the same national (cultural) community. They were characterized by an intimate atmosphere, local creative connections between participants, stylistic and genre orientation; The program of these festivals expressed the idea of restoring intracultural forms of creative communication of the post-war era. By the end of the 20th - beginning of the 21st centuries, there was a tendency towards the consolidation and complexity of festivals.
150 projects by expanding the range of participants belonging to various ethnic and national communities. The music festival has been actively transformed into a way of carrying out intercultural dialogue.
By the beginning of the 21st century. The values of globalization have finally prevailed in festival practice, especially in the field of jazz: instead of festivals of the traditional type (based on a series or cycle of concert programs), dialogical festivals have come to the fore, in the structure of which signs of dynamic models of dialogue are found. The latter include two types of intercultural dialogue carried out:
Based on equal self-expression of participants representing different ethno-national and creative traditions;
Based on the organic fusion and synthesis of different ethno-national and creative traditions.
It should be noted that within the framework of this work, these two models of dialogue of cultures are considered as independent.
The situation of “dialogue of cultures”, characteristic of the turn of the 20th and 21st centuries, became a prerequisite for the creation of a unified musical space. For example, in the art of jazz, this leads to the formation of an international jazz community that includes representatives of all ethnic groups of the world. In 2000-2010s. festivals are organized with the widest possible genre, style and ethno-national coverage of participants; In essence, we are talking about a music and variety community, within which almost all ethnonational and cultural layers of musical creativity coexist in non-conflict unity (integration). Signs of a “dialogue of cultures” are genre and style expansion, “multilingualism” of music and the festival movement due to the involvement of more and more new traditions of ethnic and national music. The result of the “dialogue of cultures” in the music festival space
151 can be considered an expansion of the circle of participants in creative communication to a global scale, with the inclusion of representatives of all ethnic and national cultures of our time. At the same time, the mechanism of creative dialogue develops into integrative intercultural interaction.
Another model, on the contrary, implies a consistent convergence and interpenetration of primary ethno-national musical (style, genre and other) elements in the festival space. In this model of intercultural communication, the greatest importance is the “melting” in the “crucible” of the creative synthesis of all the primary components participating in the dialogue between musicians and performers. This model implements such stages of creativity as the sequential establishment of creative contacts, “conflict” (competition, direct creative contact), “adaptation” (adaptation in the process of creative exchange) and assimilation, i.e. mixing, “melting” of primary elements in the structure of the emerging festival action. The result of the festival can be considered the mutual influence of musical traditions and performers representing different cultures. At the same time, it is important to emphasize that bearers of certain ethno-national traditions in a situation of creative dialogue adopt the norms, values and traditions of another school, direction, style, etc. The origins of the formation of this type of music and, in particular, jazz festival in the multiethnic cultural environment of the United States of America, representing a conglomerate of the most diverse cultural elements.
The relevance of such a festival model is determined by the fact that in the process of combining heterogeneous cultural layers, themes, motifs, genre and style formations within its framework, a radically new artistic experience arises: an artistic discovery produced by synthesizing the heterogeneous experience of performers becomes the goal of musical dialogue.
During the analysis, it was discovered that such different, at first glance, types of festival organization coexist quite organically in contemporary art; Moreover, their signs often appear within the framework of one festival project. This can be explained by the commonality of the sociocultural mechanism underlying them. Despite the substantive differences, they are built according to the scheme of intercultural communication; The defining component of creative communication in both cases is active dialogue.
Turning to the study of the current state of the festival
Movements in musical art, one cannot ignore the question of its relationship with current artistic phenomena. The latter includes postmodernism, which widely influenced the art of the turn of the millennium. Consideration of this issue makes it possible to understand that the expansion of the festival movement in the 2000-2010s. is due to another regularity: a music festival is a form of virtualized spectacle, in demand in the crisis postmodern era. Based on the concepts of H.A. Khrenova and
A.V. Kostina, we tried to consider the festival in the context of the theory of spectacular forms and prove that this form of creativity acquires exceptional importance in the postmodern era. Along with other spectacles that have spontaneity and the most active impact on a person, the music festival performs the function of a spontaneous, emotional and creative compensator, helps to increase the emotional and psychological stability and resistance of the individual to destructive processes in modern culture. The intensity of globalization processes experienced by an individual becomes the reason for the actualization of collective forms of cultural existence, which can include a music festival.
Thus, the spread of festival events in music at the turn of the century
The XX-XXI centuries confirms the conclusions about the growing role of spectacular forms of artistic creativity during the crisis period.
In addition, when comparing the typological features inherent in the festival as a cultural form and the artistic language of postmodernism, it was discovered that in the space of a music festival there are all the prerequisites for organizing a postmodern artistic environment. This is due to such features of a modern festival as dialogism; reliance on the gaming principle; attraction to spontaneity, spontaneity, improvisation of artistic expression, process, organization of space; freedom and autonomy; incompleteness, openness; performativity. In general, the festival movement, like no other area of contemporary art, meets the urgent creative needs of postmodernists and can serve as a platform for the successful implementation of a postmodern experiment.
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