Implementation of the “literary and musical living room” project within the educational system of the school. The role of the festival in shaping the creative activity of young people Internet resources

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.

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

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)

CHARITABLE FOUNDATION "NEW CENTURY"
I affirm:
Chairman of the Board of Directors
Charitable Foundation
"New Age"
N.V. Basalaeva

MAIN SECTIONS OF THE REGULATIONS

1. Relevance and positive aspects of the project.
2. General provisions (governing bodies, organizing committee, jury and partners).
3. Goals and objectives of the festival.
4. Conditions of participation and nomination of festival competitions.
5. Structure and timing of the festival (main stages).
6. Award fund, laureates and winners of competitions.
7. Criteria for evaluating competition works of authors and performers.
8. Information partners of the festival.

1. RELEVANCE AND POSITIVE ASPECTS OF THE PROJECT

Think and act, feel and create, imagine and fantasize, acquire true ethical, moral and spiritual values... constantly and tirelessly work on yourself, continuously work on your own mistakes, certainly acquiring eternal human values ​​in order to become stronger, more necessary and better today, than yesterday, to change the world for the better tomorrow...
This is what the greatest of arts teaches us - Literature!
Due to the fact that the modern literary space of the city of Novosibirsk and the NSO there is clearly a need to support the creativity of young writers, both in terms of popularizing their activities in general, and in terms of publishing the best works of specific authors in particular... And also in order to create effective and effective tools that form among the country's youth a stable, conscious need to read literary works. Including works by our Novosibirsk authors from the youth community...
The New Century Charitable Foundation has established an annual regional literary and musical festival aimed at solving the above problems, which today are a sign of the times and a clear sign of a developed multinational democratic state occupying a leading position in the field of world culture and art.
The festival is called “Hope”!
In the name of the festival we see a multifaceted interweaving of the brilliant hopes of Authors and Creators for success and recognition, for society to understand their emotional experiences and thoughts, for high artistic results and the appreciation of their work by their contemporaries... It also contains the universal human concept of Hope, associated with an active life position, oriented to establish the “kingdom of love, freedom, justice and goodness.”
We were the organizers of the "HOPE" festival. We offered to support our initiative to organizations working in the field of culture and art and to participate in its organization and implementation - and our HOPES WERE JUSTIFIED!

2. GENERAL PROVISIONS

2.1. FESTIVAL FOUNDER: New Century Charitable Foundation.

2.2. FESTIVAL ORGANIZERS:
Charitable Foundation "New Century"
Novosibirsk branch of the Union of Writers of Russia
Novosibirsk Regional Youth Library

2.3. OFFICIAL PARTNERS OF THE FESTIVAL:
NOOO "Creativity"
Literary club "Pervosnezhnik"
Literary Association "Youth"
Association "League of Free Authors"
Siberian Foundation for the Perpetuation of the Memory of V. Vysotsky
Literary almanac "Sinilga"

2.4. FESTIVAL ORGANIZING COMMITTEE: To organize, conduct the festival and sum up its results, an Organizing Committee is created, the main tasks of which are:
General management of the festival, summing up the results of the festival.
Consulting and methodological assistance to festival participants.
Collection, analysis, systematization and distribution of materials about the festival.
Formation of a jury to evaluate works and determine competition winners.
Organization and holding of the closing ceremony of the festival.

Composition of the organizing committee:
Basalaeva Angelina Anatolyevna- Chairman of the organizing committee
Zharkova Lyudmila Konstantinovna– artistic reading
Mann Tatyana Evgenevna- poetry and prose
Bocharov Vladimir Nikolaevich- original song

2.5. FESTIVAL COMPETITION JURY:
To evaluate the works of the contestants and the numbers performed by the participants of the competitions, a professional jury was formed from among well-known Novosibirsk authors, performers, cultural and artistic figures, consisting of: Nomination "Prose":
Shalin Anatoly Borisovich- chairman of the jury, chairman of the Novosibirsk writers' organization of the Union of Writers of Russia.
Nomination "Poetry":
Martyshev Evgeniy Fedorovich- Chairman of the nomination jury, member of the Writers' Union of Russia, member of the Petrovsky Academy of Sciences and Arts.
Nomination "Author's song":
Gordeev Timur Eduardovich– Chairman of the nomination jury, laureate of All-Russian, All-Union and international competitions, soloist of the Novosibirsk State Philharmonic.
Nomination "Fiction reading":
Lemeshonok Vladimir Evgenievich– Chairman of the nomination jury (Honored Artist of the Russian Federation).

2.6. FESTIVAL PRESS CENTER:
Olga Rakhvalova, Dmitry Bocharov, Marina Vdovik. Tel. 210-11-08

3. GOALS AND OBJECTIVES OF THE FESTIVAL

3.1. The purpose of the festival is to unite the efforts of the general public, residents of Novosibirsk and the Novosibirsk region, representatives of the legislative and executive authorities, the business community of the region, public organizations, honored figures of culture, science and art, other personalities and organizations in solving problems of stimulating and supporting the creativity of Novosibirsk authors and performers, as well as in the matter of promoting literary creativity and performing arts, as the most important component of the spiritual health of the nation and the moral foundation of modern society.

3.2. Objectives of the festival:
develop and carry out a set of activities aimed at increasing the interest of authors in achieving the heights of writing. Hold festival competitions in 4 categories among authors and performers.
create an opportunity for self-realization and disclosure of the intellectual and creative potential of young authors.
identify and encourage the winners of festival competitions from the funds of the Festival Award Fund, and from other sources, and by other means.
contribute to the formation of reader interests aimed at reading modern literature of various genres - to involve the regional media and other resources in the issue of covering festival events and the creativity of festival participants.
organize and conduct a solemn ceremony of awarding competition winners and festival laureates, as well as a thematic event (gala concert), together with famous city performers of genres and forms of creativity corresponding to the festival. organize and hold a working meeting with representatives of the community of stakeholders on the further development of the festival, increasing the status of the festival and strengthening its capabilities, from among potential co-organizers, sponsors, and partners.

4. CONDITIONS OF PARTICIPATION AND NOMINATION OF FESTIVAL COMPETITIONS

4.1. Residents of the Novosibirsk region and the city of Novosibirsk (including representatives of literary associations and creative groups) aged 14 to 40 can take part in the festival.

4.2. To participate in the festival competitions, a potential participant must fill out and send to the organizing committee by e-mail an Application for participation in the Nadezhda festival of the appropriate sample.

Application for participation in the festival "Nadezhda"

4.3. Applications for participation in festival competitions are accepted until May 31, 2015 by email.
Recipient address - e-mail: [email protected]
Please indicate the subject of the letter: APPLICATION_"Festival "Nadezhda".

4.4. To officially register as a participant in the competition, a potential participant must:

In the category "POETRY"
Provide the organizing committee with a selection of 3 to 10 poems in printed and/or electronic format.

In the category "PROSE"
Submit to the organizing committee in printed and/or electronic format either one completed work - a story, a story, or a fragment of a story and a brief summary of the plot of the story.
Each work must be signed (name and age of the author, nomination, title of the work).

In the category "Author's SONG"
Provide the organizing committee with the texts of at least two songs submitted for public performance and for judging by the competition jury for compliance with the festival format (by email or on CD/DVD media).
Providing submitted works in audio and video format is encouraged, but not required.
Each work must be signed (name and age of the author, nomination, title of the work).

In the category "Fiction READING"
/in the case of performing one’s own works/. Provide to the organizing committee for compliance with the festival format (by e-mail, or on CD/DVD media) texts of at least two, but no more than 3, submitted for public performance, and for judging by the jury of works and/or fragments of works (no more than 5 minutes of total time).

/in the case of performance of works by third-party authors/. Provide to the organizing committee for compliance with the festival format (by e-mail, or on CD/DVD media) the names of the authors, titles and texts of works, at least two, but no more than 3, declared for public performance, and for the competition jury (no more 5 minutes total time).

Providing submitted works in audio and video format is encouraged, but not required.
Each work must be signed (name and age of the author, nomination, title of the work).

4.5. If the conditions of clause 4.2, clause 4.3, clause 4.4 are met, and if the parameters of clause 4.1 are met. potential participants are considered registered competitors.

4.6. The competitor has the right to apply for participation in several nominations, but no more than 1 application in one of them.

5. STRUCTURE AND DATES OF THE FESTIVAL

5.1. LMF "Nadezhda" is held from October 10, 2014 to March 30, 2015 and consists of three main stages, each of which is an integral part of it:

STAGE II (April 2015)
Based on the results of the preliminary selection, 10 finalists are selected in each category and are admitted to the finals.
The winners of the final rounds are festival laureates and are awarded festival laureate diplomas.
Conducting the FINAL rounds of competitions in nominations, awarding the finalists of the competitions with Diplomas of Participants of the festival "Nadezhda - 2015"):

"Artistic READING":
Karaoke restaurant "Exupery", Airport str., 88
First ten days of April.
"Author's SONG"
Karaoke restaurant "Exupery", Airport str., 88
First ten days of April.
The works of the finalists in the "POETRY" and "PROSE" nominations are evaluated remotely by the jury, the names of the competition winners are announced on the "Nadezhda" festival page, on the website www.site of the Novosibirsk Regional Youth Library no later than April 30, 2015.

STAGE III (April 2015)
Awarding the winners of the festival competitions, the closing ceremony of the LFF "Nadezhda-2015", a joint gala concert of festival participants and popular Novosibirsk performers):
WHITE HALL OF THE "PILOT" CLUB, ST. AIRPORT, 88
Third ten days of April

6. AWARD FUND, LAUREATES AND WINNERS OF FESTIVAL COMPETITIONS

6.2. The produced edition of the collection "Nadezhda-2015" is distributed among the winners of the festival competitions in all categories.

6.3. The winners of the qualifying rounds in all nominations are laureates of the festival competitions and are awarded Diplomas at the final meeting.

6.4. The winners of the final rounds in all categories are laureates of the festival and are awarded Diplomas and prizes at the Awards Ceremony.

7.1. Nomination "POETRY", "PROSE", "Author's SONG" (main criteria)
emotionality and depth of psychological impact, artistic expressiveness of creative techniques, the presence of vivid and accurate images and comparisons.
the relevance of the theme of the work and its artistic integrity.
the presence in the work of original creative findings, vivid images and other expressive means.
literary literacy and creative maturity of the author.

7.2. Nomination "Fiction READING"
the depth of mastery of the proposed circumstances and “immersion” in the material of the work.
emotionality and depth of psychological impact, artistic expressiveness of the performer’s creative techniques.
the performer has professional stage and speech skills.
compliance of the performer’s means of expression with the genre, style and ethical parameters of the work.
other parameters.

7.3. The winners of competitions in all categories are determined by summing up the points given by all members of the jury.

8. INFORMATION PARTNERS OF THE FESTIVAL

8.1. Information support is provided by the websites of project partners, websites of literary associations with links to the Festival and the city’s media.

ORGANIZING COMMITTEE OF THE FESTIVAL "HOPE - 2015"
8-952-902-30-31 - chairman of the org. Committee Basalaeva Angelina Anatolyevna
210-11-08; 8-951-914-44-81 - Mann Tatyana Evgenievna - prose and poetry
8-913-932-64-21 - Zharkova Lyudmila Konstantinovna – artistic reading
214-24-36 - Bocharov Vladimir Nikolaevich - author's song

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Shirokova, Elena Anatolyevna. Music festival in the dialogue of cultures: dissertation... candidate of cultural studies: 24.00.01 / Shirokova Elena Anatolevna; [Place of protection: St. Petersburg. state University of Culture and Arts]. - St. Petersburg, 2013. - 171 p.: ill. RSL OD, 61 13-24/35

Introduction

Chapter 1. Music festival as a form of dialogue: theoretical aspect 15

1. Festival in the system of cultural communication 15

2. Cultural potential of a music festival 34

3. The problem of the origins of the modern music festival: improvisational creativity and dialogue of cultures 63

Chapter 2. Music festival in the dialogical space of modern culture 86

1. Music festival as a sociocultural phenomenon 86

2. Models of a modern music festival 103

3. Music festival in the meaning of the postmodern project 121

Conclusion 147

Bibliography 155

Introduction to the work

Relevance of the research topic.

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 of interaction between people in modern culture has become a festival. The festival movement in Europe, the USA and Russia is continuously expanding, capturing ever larger layers of cultural space. The music festival movement is no exception. The music festival is a bright and original phenomenon. At first glance, it develops independently of global social and political processes and has its own internal logic. Meanwhile, the change in the nature of the perception of this phenomenon reveals in festival actions the presence of patterns on a general cultural scale: the music festival movement can be placed in a general row with other cultural phenomena in the space of our time. In the context of cultural studies, a music festival begins to be 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. Indeed, in recent decades, the music festival has moved beyond the scope of a musical event and has acquired the significance of 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.

Degree of scientific development of the problem

The most significant in the context of the dissertation are the works of M.M. Bakhtin, the creator of the cultural concept of dialogue, the founder of the school of “dialogue of cultures” V.S. 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. Freire. Along with this dialogue, psychological research by L.S. is devoted. Vygotsky, in which dialogue is explored 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. Habermas. 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.V. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagan, A.V. Kovalenko, V.P. Konetskaya, G. Laswell, A.N. Leontyev, M. McLuhan, Yu.V. Nikolaeva, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, H. Reimann, A.P. Sadokhina, A.V. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others.

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. Menshikov.

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. Huizinga (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 of M.M. Bakhtin, V.P. Darkevich, M.A. Saponov), 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 others.

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 are the works of S. Beregov, V.P. Bolshakov, V. Galetsky, 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.P. Khorina, A.I. Shendrick and others.

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, E.L. Rybakova, W. Sargent, Y. Saulsky, M. Stearns, V.B. Feyertag, Yu. Chugunov and others. However, these works lack systematized and generalized material on the history of the music festival movement. Festival projects in America, Europe and Russia in the 1930s–2010s. presented in the Internet system of electronic resources.

The study of the current state of the music festival movement, both in academic, jazz, and rock music, prompted us to turn to research into the general artistic practice of our time and, in particular, its postmodern tendencies. Various aspects of postmodern theory touched upon in the dissertation are presented in the works of R. Barthes, F. Guattari, J. Deleuze, J. Derrida, U. 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.N. Suvorova, N.A. Khrenova, N.A. Shirokova and others.

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.

Object of study– musical culture of the late 20th – early 21st centuries.

Subject of study– a music festival as a specific form of communication in modern culture.

Purpose of the study– identifying the cultural creative potential of a music festival, studying it from the perspective of the theory of dialogue of cultures.

Defining the goal, 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;

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 twentieth 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 identify meaningful parallels between ritual, festive and mass spectacles of various historical eras and the festival.

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.

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 dialogic. 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 dialogic-type festival:

– on the basis of equal relations between participants representing different national traditions;

– based on the synthesis and organic fusion (combination) of ethnonational and creative traditions of different 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. A music festival is a specific type of socio-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 here reveals the properties of improvisation-composition and an “open work”. By the 1990s–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, 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.

Approbation of work. Testing of the main provisions and materials of the dissertation was carried out throughout the entire period of the study. The content of the dissertation and the results obtained were discussed at meetings of the Department of Theory and History of Culture of the St. Petersburg State University of Culture and Arts; The dissertation was recommended for defense.

Various aspects of the dissertation research were reflected in speeches at the International scientific and practical conference of graduate students, students and young scientists “World of Culture” (Chelyabinsk, June 8, 2011, June 6-7, 2012), scientific and practical conference “Cultural historical reality in the research of young scientists" (St. Petersburg, April 20-21, 2011), in scientific articles published in peer-reviewed scientific and practical journals and collections of scientific papers (Gorno-Altaisk, Tambov, Chelyabinsk).

Structure of the dissertation. The dissertation consists of an Introduction, two chapters (six paragraphs), a Conclusion, and a bibliography containing 172 titles. The total volume of work is 171 pages.

Cultural potential of a music festival

Modern culture is distinguished by the multiplicity of forms of creative realization of the individual; it is characterized by pluralism, content and semantic heterogeneity, and a variety of artistic worldviews. In conditions of continuous experimentation with the content and forms of creativity, current culture is formed as a complex communicative set of texts, ideologies, values, judgments, etc., entering into complex relationships determined by its subject - a person of culture, an author (artist, or creator). It is no coincidence that the idea of ​​creative dialogue within culture, which allows coordinating the artist’s searches, realizing the experience of spiritual and aesthetic self-identification, and presenting the author’s interpretation of the “eternal” issues of art, acquires special significance. This explains why the most popular forms of cultural creativity today are those in which artistic ideas are exchanged and practical experience is integrated, communication as a way of intellectual and creative interaction. Among the many similar forms, in recent decades the festival has come to the fore - a kind of socio-practical and artistic-symbolic model of cultural dialogue.

In modern humanities (art history and creativity theory), the concept of a festival is characterized mostly from an applied point of view. Indeed, the main meaning of the word “festival” (French, from Latin festivus) is “celebration”, “holiday”, “spectacle”, which indicates its main purpose: to serve as a form of social action with elements of a holiday. Let us give a very characteristic encyclopedic definition of the concept in this vein: “a festival is a mass celebration, including a display of achievements in the field of music, theater, cinema, and pop.” The fact that the phenomenon is perceived for the most part as practically applied is also evidenced by the way its varieties are classified. For example, A.M. Menshikov distinguishes among them “...universal (covering several types of art), specialized (for one type of art - theater, music, film festivals, etc.), monographic (dedicated to one author, playwright, director, composer, actor), thematic (dedicated to a specific genre, era or stylistic direction), highly specialized (for example, a festival of folk, children's, youth songs)." From this classification it becomes clear that the phenomenon of the festival is described from a purely utilitarian point of view. The applied approach is also used when characterizing various festival forms. Thus, when defining a music festival in a socio-practical sense, they note that these are “... cycles of concerts and performances, united by a common name, a single program and taking place in a particularly solemn atmosphere”1; The purpose of a theater festival is, for the most part, explained through synonymous concepts: “show, competition, Olympiad, display, review of the achievements of theatrical art”17. Thus, it should be recognized that the understanding of the festival category occurs, rather, descriptively, since it records only the external parameters of the phenomenon, but in no way

In a slightly different content plan, but from the same methodological perspective, the concept in the field of modern sociology is considered. Here, the festival is defined as one of the forms of mass performances included in the space of popular social projects, which gives the right to perceive it as “a sociocultural phenomenon in market conditions and the development of the basic principles of a marketing strategy”18. It is no coincidence that, from the standpoint of sociological science, the festival is studied as an object of marketing, and the subject of research is the mechanisms of the socio-economic organization of the creative process, which contribute to the successful implementation of the propaganda, communicative, educational and entertainment functions of the festival. In this context, the festival is understood in the meaning of a “product” of culture, through which the connection between society and the socio-cultural sphere is realized. Being a “product” offered to the viewer-“consumer”, it can serve to educate the artistic taste and aesthetic guidelines of the public (more broadly, influence the nature of their formation), perform the function of an information field and be a means of bringing to the public consciousness information about qualitatively new things in the field of art. culture, have a compensatory value (as an element of the entertainment environment), etc. In this case, the purpose of the festival can be considered to be the regulation and improvement of relations in the “artist - society” system, as a result of which the economic and social mechanisms of organizing the festival acquire such great importance

The problem of the origins of the modern music festival: improvisational creativity and dialogue of cultures

During the historical development of the music festival as a special type of spectacle, the concert firmly took a leading position in the structure of festival programs. This is how an academic festival of concert-monologue type developed. This type of festival performance is characterized by: thematic focus, programming, stability of relations between the public and performers. It 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. The concert-monologue type of festival prevailed in artistic practice until recently, i.e. to the point of increased interest in dynamic, open forms of communication between musicians and audiences.

An example of a traditional music festival organized as a concert is the Slavic Bazaar. First implemented in 1992 on the territory of Belarus (in the city of Vitebsk), this project has a clearly defined thematic focus. This is indicated by the name of the festival, the purpose of which is to present to the public a kind of “fair” of the musical achievements of the Slavic peoples. This determines the concept of the programs and main directions of the “Slavic Bazaar”. Within its framework, several forms of concert communication with the audience are implemented in parallel: an international pop song competition, an international children's music competition, gala concerts of art masters from Belarus, Russia and Ukraine, solo concert programs of pop stars, as well as thematic Days of the Union State dedicated to music. culture of one of the CIS countries66. It should be emphasized that thanks to the involvement of creative forces (soloists and groups) from other countries, the concept of the festival has undergone some changes over time. Thus, the participation of musicians from Azerbaijan, Bulgaria, Greece, Kyrgyzstan, the Netherlands, Poland, Slovakia, Turkey, Uzbekistan, Switzerland, etc. made it possible to shift the emphasis from the idea of ​​a “Slavic fair” of talent to the idea of ​​an international “bazaar” of musical art. By the end of the 2010s. The concept of common national ties between peoples finally prevailed in the festival program. It is no coincidence that the motto of the event became the words: “Through art - to peace and mutual understanding.”

The content of the festival is based on the classical form of a thematic concert for concert practice. For example, in 1992, during the first Slavic Bazaar, programs devoted to the songwriting of Slavic countries predominated. Subsequently, the range of musical directions of the festival expanded, but the general principle of organizing the festival space did not change. The content of individual concert programs is determined by the direction of the musical style of a particular performer, group, or folk group. Among the regular participants of the festival are the National Concert Orchestra of Belarus, the Folk Choir named after. G.I. Tsitovich, “Turetsky Choir”, National Honored Academic Dance Ensemble of Ukraine named after. P. Virsky, choreographic ensemble "Khoroshki", vocal and instrumental ensembles "Golden Ring", "Pesnyary", "Syabry", groups "Lube", "BI-2", "Night Snipers", pop performers N. Baskov, V Leontyev, F. Kirkorov, V. Meladze, B. Moiseev, S. Rotaru, etc. By 2010, “Slavic Bazaar” expanded by attracting the creative forces of jazz musicians, such as the I. Butman Quartet, N. Katamadze and group “Insight”, jazz cabaret by O. Skripka, project show “Latino-Brazil festival”, as well as pop-jazz dance groups (including the ballet “Street Jazz”, ballet A. Dukhova “Todes”, “Step- dance"). In recent years, classical and academic musicians have also begun to show interest in the festival program, for example, the world-famous vocalist D. Hvorostovsky. In general, the forms of creative interaction between individual performers and groups with the festival organizing committee are stable and stable.

Over the twenty-year period of the Slavic Bazaar, not only a clearly defined space for the festival’s sites has been formed, but also its listening and viewing audience. Each of the concert directions of the project has its own addressee. Concert events of the “Slavic Bazaar” are focused on the range of artistic and taste preferences of certain social groups, primarily the mass, most democratic audience, as a result of which some programs are “tested” many times in different halls, both in Vitebsk and beyond. Since 2003, individual (key in importance) concerts have been taken to regional centers of Belarus.

In general, the Slavic Bazaar project is distinguished by its programmatic completeness, thematic focus, and the stable nature of the relationship between the performing musicians and the public.

Another example of a project organized according to the concert-monologue type is the international music festival “White Nights of St. Petersburg”. It was first held in 1992; its programs were organized annually during 1993-1995; subsequently, with interruptions, gala concerts of “White Nights” took place in 2003 and 2006. A successful attempt to revive the project dates back to 2011, when the status of festival events was supported by representatives of show business from major European countries, including Great Britain and Holland , Monaco, France68. Like any thematic festival, White Nights has its own concept. It is determined by the goals of the project presented on the website by the organizers:

Models of a modern music festival

Previously, we tried to explore the nature and cultural creative potential of a music festival from the perspective of the theory of cultural dialogue. This made it possible to include this phenomenon in a broad cultural context and to understand what place it occupies in the structure of modern artistic culture. One of the key conclusions made during the analysis can be considered a judgment about the communicative value of a modern festival and, in particular, a jazz festival, for all participants in the creative process (both performing musicians and the public) and, more broadly, for the entire space of contemporary culture. Having asked what factors this is due to, it should be noted: along with the universal quality of dialogism inherent in festival events, their inclusion in the system of social interactions between individuals belonging to different national and cultural communities, social groups (communities), etc. is no less important. d., inclusion in the system of interactions between various spheres and institutions of culture and, first of all, art and society. In other words, a music festival can be considered as a sociocultural phenomenon, in the structure of which mechanisms of social communication are found.

Indeed, contemporary art is closely interconnected with sociocultural processes and reflects all the diversity and specificity of social relations inherent in our time. This statement is especially true in relation to such forms of artistic creativity in which the idea of ​​communication initially predominates, i.e. the orientation toward the interpersonal, interethnic, intercultural, etc. is clearly expressed. communication and information exchange. It is precisely such models of creative interaction that include the modern music festival, which over time is increasingly used as a way of conducting cultural dialogue. In this regard, there is a need to consider this phenomenon in relation to the concept of communication.

The category of communication is widely reflected in various fields of scientific knowledge. This is quite natural, since the space of human culture is inseparable from the mechanisms of interaction between people. After all, according to the fair remark of I.K. Moskvina, “culture is a field of various interactions, communications, dialogues, which are extremely important for its existence and development”119. The field of understanding the category is formed within the framework of philosophy, linguistics, and information theory120. The ideas of existentialists K. Jaspers and J.-P. are devoted to the idea of ​​communication. Sartre, the theory of communicative action of J. Habermas, works devoted to the “philosophy of dialogue” (M. Buber, M. M. Bakhtin, B. S. Bibler, E. Levinas, F. Rosenzweig, O. Rosenstock-Hüssy)122, works on the theory “ clarification of linguistic experience" by L. Wittgenstein123. In modern humanities - cultural studies, sociology, political science, psychology - the general theory of communication has been widely developed. Among the works devoted to its various aspects are studies by G.M. Andreeva, S.V. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagan, A.V. Kovalenko, V.P. Konetskaya, G. Laswell, A.N. Leontyeva, Yu.M. Lotman, M. McLuhan, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, X. Raimann, A.P. Sadokhina, A.V. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others.124

According to L.V. Petrov’s definition, communication is “specific social relations that arise in the process and are preserved as a result of the exchange of information between individuals or their associations and contribute to the preservation and development of the spiritual unity of the human community”125. As noted by L.V. Petrov, the term “communication” simultaneously contains the meaning of transmission, message, information, and also “contains the phenomenon of complicity that arises during the public reception of information, the formation of a certain community of people who received this information”126.

According to A.P. Sadokhin, one of the key problems of the general theory of communication is the definition of the term “communication” itself and the analysis of its content in connection with the concept of “communication”. Since this directly affects the question of the essence of a jazz festival as a modern form of organizing sociocultural communication, it makes sense to understand in more detail the approaches developed in science to this problem.

According to the fair statement of A.P. Sadokhin, the concepts of “communication” and “communication” are closely related to each other, since the elementary meaning of the Latin word “communicatio” is “to make common,” “to connect,” “to communicate”127. At the same time, researchers tend to view the nature of the relationship of definitions with each other differently. This explains the existence of different approaches to the problem. A.P. Sadokhin offers a unique classification of research points of view on this issue128. Thus, the first group of scientists identifies these concepts based on their etymological similarity, and does not see a fundamental difference in their content. The second group, on the contrary, differentiates the concepts, believing that “...communication has both a practical, material, and spiritual, informational, and practical-spiritual nature, while communication is a purely informational process - the transmission of certain messages”1. It is noted that communication is a unidirectional process, while communication is built as an active interaction in which “... there is no sender and recipient of messages - there are interlocutors, partners in a common cause.” The third group of studies is based on the idea of ​​such a relationship of concepts with each other, in which the term “communication” is more general, and the concept “communication” characterizes “... only those processes of information exchange that represent specific human activity aimed at establishing and maintaining relationships and interactions between people”132. We present here the author’s point of view of A.P. himself. Sadokhin, who systematized this material: based on the theory of X. Reimann, who argued that “...communication should be understood not as the message itself or the transmission of a message, but primarily as mutual understanding” of the participants in the interaction1 3, the scientist makes the judgment that the basis of communication is mutual understanding, without which communicative processes are meaningless. As a result of this, A.P. Sadokhin considers the communication process as a desire for mutual understanding between individuals (communities) involved in interaction, a process of “exchange of thoughts, ideas, ideas, emotional experiences and information, aimed at achieving mutual understanding and influence of communication partners on each other” 4.

Music festival in the meaning of a postmodern project

When comparing these postmodern characteristics with the key characteristics of a music festival, many points of agreement can be found. Let us once again define the most significant features of a modern music festival, identified earlier, to make sure of this. These include: - dialogism; - creative play atmosphere created on the basis of the traditions of creative play-spectacle and techniques of play-improvisation, improvisation of writing; - meaningful polycentricity and creative pluralism; - “intertextuality” of interactions between a musical work, participants and spectators (listeners) of the festival, due to the multi-subjectivity of creative communication; - fundamental semantic (content) “openness”, experimentalism, variability of the artistic result achieved during festival music-making; - representativeness, entertainment.

A simple comparison reveals the similarity of a number of characteristics that are generic, in one case, for the practice of postmodernism, in another - for music festival practice. However, like no other area of ​​contemporary musical art, the jazz festival meets the urgent creative needs of postmodernists. It is this that can serve as a truly fruitful platform for successful creative experimentation in this direction. If postmodernism and its ideas penetrate into some areas of contemporary creativity gradually and, perhaps, artificially, the field of the jazz festival seems to be created in order to implement the most daring innovative projects of a postmodern nature. The nature of a jazz festival contains all the prerequisites for organizing a postmodern artistic environment, rich in intertextual interactions, implying an open, improvisational creative process, active dialogue between representatives of different national cultures, style trends, etc. In addition, a jazz festival is a space organized according to performative laws; it attracts viewers and listeners with its brightness and entertainment and therefore can serve for the public manifestation and demonstration of new artistic techniques, work models, and technologies.

It was previously noted that the festival environment is conducive to experimentation in conditions of live communication and dialogue. I would especially like to highlight such features in the organization of the festival space as autonomy, dramatic integrity and a certain self-sufficiency. Each modern festival project claims to have independent significance and truly resembles the image of a rhizome, existing on the basis of complex branched (“root”) interactions between its individual programs (concerts, events, etc.) and participants. All these factors are highly inherent in the postmodern situation of creativity. It is therefore not surprising that many festivals of recent decades, in essence, represent a postmodern project included in an active general space of postmodern art.

When discussing the reasons for the actualization of the festival movement in the era of postmodernism, one cannot help but dwell on one more aspect of this problem. Following the judgments of some modern researchers, it can be argued that the main reason for the demand for a jazz festival is its entertainment. At the same time, we are not talking about the simple attractiveness of the “outer shell” of festival events, their “glossy” accessibility. Not at all: entertainment is the most important component of cultural existence for a person living in a transitional era, which includes the postmodern period. This point of view is presented in the works of N.A. Khrenova and A.V. Kostina, dedicated to the study of the cultural situation at the turn of the 20th-21st centuries. As A.V. Kostina believes, the current state of culture can be called a crisis for an individual who is experiencing enormous stress from a collision with the external environment, a contradiction between the personal and social aspects of existence, experiencing numerous stresses in the post-industrial world. This explains a person’s interest in such cultural forms that could help him overcome such conflicts and sublimate the energy of environmental negation into unconditionally positive, creatively productive facts of life. According to N.A. Khrenov, spectacle becomes such a relevant cultural form of the era of transition. It is the spectacle that is activated “... in situations of extreme social and cultural tension, generating Chaos and then overcoming it through the reorganization of Order”199. As A.V. Kostina notes, entertainment layers carry enormous positive potential, harmonize a person and society, neutralize the destructive forces inherent at this stage in both the person himself and social systems. This is why, as scientists believe, spectacle and spectacular forms are especially in demand in crisis situations.

POSITION

ABOUT THE XX INTERNATIONAL FESTIVAL

"CHILDHOOD WITHOUT BORDERS"

(2017 – 2018)

I. GENERAL PROVISIONS

Relevance of the festival.

Inclusion of children and youth in socially significant activities and encouragement of their creative achievements is a priority activity of the International Union of Children's Public Associations "Union of Pioneer Organizations - Federation of Children's Organizations" (SPO-FDO).

The Decree of the President of the Russian Federation “On the creation of the All-Russian public-state children's and youth organization “Russian Schoolchildren's Movement” dated October 29, 2015 recognized that the children's social movement has become an integral and effective part of civil society. The National Strategy for Action in the Interests of Children emphasizes that children and their associations have proven through their vital activity the ability to effectively participate in the implementation of government tasks, as active subjects of this process.

The international festival “Childhood without Borders”, held by SPO-FDO for 20 years, has become an authoritative, social, practice-oriented platform in demand by children and adults, on which the latest psychological and pedagogical methods and technologies for the formation of citizenship, patriotism and creativity are created, transformed and improved. children and youth.

The International Festival “Childhood Without Borders” (hereinafter referred to as the Festival) is an effective self-developing system for selecting, supporting and developing the abilities of talented children and youth in the social, research, and creative spheres of life.

The use of a variable program approach in organizing the Festival stimulates the development of children's public initiatives in the regions of the Russian Federation and other countries.

The festival promotes:

· identifying the most problematic issues of upbringing, education, formation of a creative personality, requiring the active participation of the State and society;

· solving problems facing children's public associations with the help of the children themselves, demonstrating examples of their successful solution for the formation of a civil, patriotic position of the younger generation;

· intensifying the activities of children's public organizations and associations in the processes of development, formation, education, training and socialization of children and youth;

· demonstrating the significance, usefulness and effectiveness of the capabilities of children's public organizations and associations in supporting socially significant ideas and projects of children and youth.

The festival is a unique technology of non-formal education and a public system of support for active and talented children and youth. It is open to all institutions of society and is a socially significant event in the life of children's public associations.

The festival is supported by interested government agencies, non-profit organizations, public associations, and the media.

The social effect of the Festival is to attract the attention of the legislative and executive authorities, society and its institutions, SPO-FDO partners to the problems of social and creative maturation of the younger generation; providing assistance to children and adolescents in the implementation of creative, social projects and programs, support and development of the children's social movement.

2. The purpose and objectives of the festival. The goal of the festival “Childhood Without Borders” is to create and implement opportunities for public demonstration of the creative potential of children, children's organizations and groups, adults working with children, to develop programs to support talented children and youth.

The festival is aimed at solving the following tasks:

· attracting the attention of state and public institutions, the media to the problems of supporting a child’s talent in a world without borders;

· creation of a system of methods and social practices that effectively contribute to the formation in adolescents of the qualities of a Citizen, a Patriot, a Creator - the keeper and successor of national traditions;

· demonstrating to children and adolescents the possibilities of creative communication and cooperation of children's associations in socially significant activities;

· involving the younger generation in creative, positive activities through the creation of a system of competitions and events that develop the child’s creative potential;

· systematization of methods, techniques, forms of work for the implementation of children's programs and projects in the field of supporting talented children and youth;

· competition-action “Code of success of my Fatherland”

· competition-action “Nature has friends, that’s us – you and me!”

· research competition "Children's public organizations - a resource of civil society"

· competition for awarding the “Good Wizard” prize to children with disabilities.

· competition of fine arts and arts and crafts “Young Talents”;

· competition of game programs and projects “Talented Organizers”;

· competition of creative works “Road to Space”;

· competition of creative works “Happy Anniversary, Festival!”

4. Time of the festival. The festival has been held since October 2017, I will send you a table later.

5. Organization of the festival:

· first stage (correspondence) of the I.Kh. Sadykov DTDiM.

6. Festival participants- children, teenagers, youth from 8 to 25 years old (depending on the requirements and criteria for evaluating specific events and competitions), united in a children's public organization, children's or youth creative association, or acting individually, their leaders, teachers and mentors.

Very important:

· in the list of works without abbreviations and abbreviations it is indicated:

Name of the competition;

Job title;

Age (day, month, year of birth);

Name of the children's organization (association), indication of the school (creative association, studio, club);

Last name, first name, patronymic of the head (curator);

Full postal address indicating the region, municipal or other entity, contact phone number, email address.

· for each work, you must attach on its invisible part there is an inscription with the obligatory indication of the title of the work, the author and the region (republic, territory, region, autonomous district, district, city, village);

· every job, made using computer technology, is sent to participate in a specific competition on a separate electronic medium;

· work directed to participate in the second (final) stage only by email will not be considered;

· all works, sent to Moscow to participate in competitions of the second (final) stage of the festival, are not reviewed and are not returned to the authors.

Competition-action “Code of success of MY Fatherland!”

“My friend, let’s dedicate our Souls’ beautiful impulses to the Fatherland”

A.S. Pushkin

Relevance

The success and vitality of the Fatherland are inextricably linked with the need to educate a person who develops in harmony with his Motherland and people.

How to achieve maximum indicators of success and vitality of the Fatherland?

· master the basics of the culture of the Fatherland and perceive oneself as a bearer of its values, understand the Fatherland through the spiritual foundation of the native culture;

· show social activity aimed at coordinating one’s life plans with the key directions of development of the Fatherland;

· recognize as a key value love for the Fatherland, devotion to one’s Fatherland, the desire to serve its interests and readiness to defend it;

· be tolerant, tolerant of other people’s opinions, able to conduct a dialogue, seek and find meaningful compromises;

· have a conscious moral position formed on the basis of the spiritual values ​​of the Fatherland;

· be capable of self-organization, be able to defend their rights, participate in the activities and creation of public associations;

· have a high level of legal culture: knowledgeable of fundamental legal norms and able to use the capabilities of the legal system.

One of the main activities of Children's public organizations is the civic-patriotic education of the younger generation, which has always been aimed at developing in children and adolescents a high patriotic consciousness, a sense of loyalty to their Fatherland, readiness to fulfill civic duty and constitutional responsibilities to protect the interests of the Fatherland, strengthening unity and friendship of peoples, and allows us to achieve maximum indicators of success and vitality of the Fatherland.

The competition action is designed to implement the above-mentioned areas with high results.

1. Goals and objectives of the competition-promotion:

· search and implementation of effective ways, forms and methods of developing national consciousness, citizenship, patriotism and love for the Fatherland among the younger generation;

· intensifying the work of children's public associations for the civic and patriotic education of the younger generation;

· promoting a sense of duty and readiness to save and protect the Fatherland, its natural, cultural and intellectual wealth;

· propaganda of the heroic history and glory of the Fatherland among children;

· promoting the development of active citizenship of children and adolescents;

· creating conditions for demonstrating in children's and adolescents' environment various types of social activity of participants in children's public associations;

· popularization of the best practices of children's public organizations and associations in civil, patriotic, and international education.

2. Participants of the competition-promotion. The competition-action involves children and youth aged 8 to 24 years, representatives of children's public associations, subjects of SPO-FDO, children's associations of Houses and Palaces of Children's Creativity, clubs at the place of residence, in five age categories (8-10, 11- 13, 14-16, 17-20, 21-24 years old)..

3. Organization and conduct of a competition-promotion. During the campaign, it is proposed to carry out activities in the following areas:

"Connection of Generations"

· carrying out social events “An elderly person lives nearby”, “Care”, to provide assistance to elderly people, veterans of the Great Patriotic War, labor veterans; organization of activities in the field of physical culture and mass sports;

· organization of joint creative activities (leisure activities, joint musical evenings, creative master classes, etc.):

· attracting older people to public life by creating joint volunteer groups, etc.

"Human and society":

· initiation and support of actions aimed at civic-patriotic education: “We are citizens!”, “The Motherland needs me,” “For the Motherland, goodness and justice!” and etc.;

· holding creative events, competitions on legal topics, competitions of drawings, wall newspapers, essays, readers on civil-patriotic topics;

· formation of a respectful attitude towards state symbols (carrying out the event “Our flag and coat of arms covered in glory”)

“Learn to defend the Motherland!”:

· development of a network of clubs, circles, sections of a military-patriotic orientation;

· attracting children and youth to classes in military-patriotic clubs and associations,

· joint activities of veteran organizations and youth patriotic centers;

· conducting lessons on courage, working in school museums;

· conducting military field training, military sports games such as “Zarnitsa”, “Eaglet”, “Shield”, patriotic song competitions;

· preparation for service in the ranks of defenders of the Fatherland, assistance in mastering the basics of military professions;

· involving the media in the formation of a positive public opinion about the activities of military-patriotic clubs and associations, and military service.

“About the Motherland, about feat, about glory”:

· collection of materials with memories of military veterans;

· continuity of patriotic traditions of generations of veterans;

· fight against WWII counterfeiters;

· holding events “Memory Watch”, “Heirs of Victory”, “Nobody is forgotten, nothing is forgotten”, etc.

· holding days of united action dedicated to memorable days (January 27 - Day of lifting the siege of Leningrad, February 2 - the defeat of fascist troops in the Battle of Stalingrad, April 11 - day of liberation of concentration camp prisoners, etc.);

· putting in order obelisks, burial places of soldiers who died in the performance of military duty;

· Participation in search operations at battle sites.

As part of the promotion, competition of implemented social projects in the proposed areas. Work must be sent in printed and electronic form. Projects that reflect the most effective forms of work on civic-patriotic education of youth will be evaluated.