The role of the festival in shaping the creative activity of young people. Implementation of the “literary and musical living room” project within the educational system of the school Music festival as a form of dialogue
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 fundamentals 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 unified 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 focus (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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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; Feiertag 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;
culture // Introduction to cultural studies: a course of lectures. Ed. Yu.N. Solonina, E.G. Sokolova. - St. Petersburg: St. Petersburg State University, 2003. - P. 125-130; Mankovskaya N.B. Aesthetics of postmodernism. - St. Petersburg: Aletheia, 2000. - 347 p. - (Gallicinium); Makhlina S.T. Dictionary of semiotics of culture. - St. Petersburg: Art-SPb., 2009. - 752 e.; Makhlina S.T. Lectures on semiotics of culture and linguistics. - St. Petersburg: SPbKO, 2010. - 468 e.; Theory of culture: textbook. village edited by S.N. Ikonnikova, V.P. Bolshakova. - St. Petersburg: Peter, 2008. - 592 p.; Suvorov N.N. Elite and mass consciousness in the culture of postmodernism. - St. Petersburg. : SPbGUKI, 2004. - 371 e.; Khrenov N.A. Spectacles in the era of mass uprising. - M.: Nauka, 2006. - 646 e.; Khrenov N.A. Social psychology of art: a transitional era. - M.: Alfa-M, 2005. - 624 e.; Shirokova N.A. Jazz in postmodern artistic culture: main development trends: dis. ...cand. cultural studies [Author's manuscript]: 24.00.01 / St. Petersburg State. University of Culture and Arts. - St. Petersburg, 2011. - 155 euros; Bignell J. Postmodern media culture. - Edinburgh: University Press, 2000. - 240 p.; McLuhan M. The Medium is the Massage: An Inventory of Effects / M. McLuhan, Q. Fiore. -N.Y.: Random House, 1967. - 160 p.
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.
Similar dissertations in the specialty "Theory and History of Culture", 24.00.01 code VAK
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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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171. The Modern Jazz Quartet: history of creativity, discography [Electronic resource]. - , 2008-2013. - Access mode: http://music80.org/node/423. - Cap. from the screen.
172. Tigran [Electronic resource]. - . - Access mode: http://flavors.me/tigran/#7fe/custom_plain. - Cap. from the screen.
Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.
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.
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
