The meaning and level of personal culture. Levels and forms of socio-cultural activity
All parts of culture are intertwined into a complex whole. Concepts, relationships, values and rules are closely interrelated. The depth and degree of such interrelation between various aspects of culture, the stable cultural models that arise in this case, are denoted by the term "cultural integration".
To understand the processes occurring in culture and society as a whole, different levels of culture are distinguished.
1. First level – Dominant (or dominant) culture, denoting those values, traditions, views that are shared only by part of society, but this part has the ability to impose them on society as a whole, either due to the fact that these groups constitute an ethnic majority, or they have coercive mechanisms (for example, in Russian Federation the dominant culture is Russian culture).
2. The next level is from Ubculture. Since society breaks up into many groups - national, demographic, social, professional, each of them gradually forms its own culture - its own system of values and rules of behavior.
The system of norms and values that distinguishes a group from the wider community is called subculture .
A subculture acts as a part of the general culture. There is a youth subculture, a subculture of older people, a subculture of national minorities, a professional subculture, and a criminal subculture.
A subculture is formed under the influence of factors such as social class, ethnic origin, religion, place of residence, age, etc. (youth subcultures, geek culture in the West). A subculture differs from the dominant culture in language, outlook on life, behavior, hairstyle, clothing, customs, etc. The differences can be very strong, but the subculture is not opposed to the dominant culture.
A subculture has its own functions and dysfunctions in society. Function of subculture: a subculture in a certain social group allows group members to adapt together (for example, the All-Russian Society of the Blind); allows you to satisfy specific needs (“gay culture” in Russia). Subculture dysfunction: a subculture pits some group against society, which often leads to social conflicts (for example, a criminal subculture).
3. A subculture that not only differs from the dominant culture, but also opposes it, is in conflict with dominant values, is called counterculture .
Counterculture – a type of culture whose values are directly opposite (hostile) to the dominant values of a given culture. For example, the terrorist subculture is opposed to “human culture,” and the hippie youth movement in the 60s rejected mainstream American values: hard work, material success, conformity, sexual restraint, political loyalty, rationalism.
In sociology, it is also distinguished as a type of culture, which is often capable of coming into conflict with both the dominant culture and a subculture. This - invader culture .
Culture invader – a culture that, having entered another culture, begins to transform it(American culture, outside its territorial framework, has the peculiarity of imposing its values on those national cultures into which it penetrates: in Russia, for example, you can often find the word “shop” instead of the usual “store”, or the dollar equivalent of prices on the market of goods and services instead ruble, etc.).
Worldviews regarding one's own and foreign cultures may differ. The tendency to evaluate one's own culture as good and correct, and other cultures as strange or primitive and even immoral, has been called "ethnocentrism". The idea that any element of culture must be correlated with the specific time, place and social conditions that gave rise to it is called "cultural relativism". The most optimal way of intergroup and intercultural perception and interaction is a combination of features of both ethnocentrism and cultural relativism, when an individual, feeling a sense of pride in the culture of his group or society and showing commitment to the basic values of this culture, is at the same time able to understand other cultures and behavior members of other social groups, recognizing their right to exist.
3.3. Levels of culture and culture
In modern scientific literature The discussion about the basis for defining the concept of “culture” has not yet ended. This depends on the theoretical and methodological approach chosen by the scientist to define the concept. If culture perceived as an exclusively positive characteristic of a person, expressed in the antithesis “a cultured person - an uncultured person,” then culture becomes an indicator of a person’s usefulness, and the absence of culture - his inferiority. This approach arose in the Western European Enlightenment and had corresponding parallels: “enlightened person - unenlightened person”, “educated - uneducated”, “civilized - uncivilized (wild)”. Already during this period, new parameters for defining (measuring) a person were realized in accordance with his internal development and preparedness for existence in society.
The very concept of “culture,” as is known, goes back to a certain activity associated with the purposeful, consciously given formation of natural formations that are determined by human needs, for example, food or clothing. This concept in Ancient Rome initially expressed only the characteristics of peasant, agricultural labor, and wild, freely developing nature was separated from nature, which had fallen under the power of man and had lost its freedom of development, that is, its unpredictability, wildness, and self-sufficiency. In this case, the concept of “culture” acted as a separator of two forms of life – dependent on man and independent of him.
This dividing line was soon transferred to public life, in which people and even entire nations stood out, living seemingly freely, without rules, and people, entire nations, who observed certain rules of human coexistence developed over generations. Because of this, the concept of “culture” was defined in two main meanings: original, indicating human intervention in the life of nature, and derivative(secondary), indicating the interference of society in people's lives. The concept of “culture” as human culture has become a homonym for the concept of “culture” as the culture of plants and animals transformed (recreated) by the will of people.
In its new meaning, the concept of “culture” existed until approximately mid-19th century, that is, until the time when the idea of all peoples arose and began to gain strength as living according to the rules of their society in accordance with the traditions and laws that had developed in it, which were ultimately affirmed and polished from generation to generation. The concept of “culture” has acquired additional meaning: a system of rules and skills that accompany a person from birth and determine the forms of his behavior, consciousness and thinking. In this new adjusted meaning, culture turned out to be inherent in every person, regardless of his belonging to a particular nation. Thus, the word “culture” gained the opportunity to appear not only in the only one number indicating degree human development within specific society, noivo plural, pointing to differences between societies themselves, civilizations, laws and rules, and, accordingly, people in the course of their historical development in the conditions of various social and natural systems. Therefore, the concept of “culture” began to indicate the difference in the parameters and content itself, the direction of development, and therefore the differences in the criteria for assessing the stages of development themselves, depending on the characteristics of certain social systems.
In accordance with the new content in modern science, the concept of “culture” as a degree of spiritual development began to look for universal criteria that would make the determination of the degrees of human spiritual development independent of the differences between heterogeneous social and natural systems that are not identical to each other. This focus of the search led to the need to turn to the origins of man, his origin, that is, to the very first dividing line, indicating the non-identity of an animal, even one as developed as the ape, and man himself.
A distinctive feature of human existence from the existence of animals is the social status that arises in a person during the decomposition, disintegration of the original forms of herd life, when the primary forms of social organization of animals, based primarily on self-preservation instincts, pass from external conditions into the internal conditions of a person, becoming his social psyche and social form of development. In this case, not under the pressure of external natural circumstances, but due to one’s own new nature a person builds his behavior and attitude towards others, his activities as an individual, as an organic particle of the general - the emerging community.
Having traced the evolution of human behavior in the system of society, we can distinguish three main stages not of historical development, but of human formation or, in other words, the transformation of an external person, biologically determined by his birth, into an internal person, i.e., possessing certain forms of dominant goal-setting. In this general process of human formation there are no differences between “civilized” and “uncivilized”, but there are differences between the levels of human formation as the levels of his culture, his social maturity.
The first necessary need of a born person is need in his own life, and therefore, in conditions that ensure his life as a simple form of being, existence. The first forms of a community of people arose on the basis of their desire to ensure this form of existence in joint activity, that is, to create, through collective efforts, a single orientation of consciousness, a necessary and sufficient level of existence. At the initial stages of human development, the level of existence was determined by three functions of the community and each person belonging to it - providing: a) the required quantity and quality of food; b) protection from cold or heat in various climatic conditions; c) protection from attacks by wild animals, and sometimes people, encroaching on life or food resources. These needs, which underlay the primary forms of organization of social life, can be called vital, i.e. vital (from lat. vita- life).
Vital needs are basic for any person, since their content is determined by the need for life itself, stimulated instinct and at the same time conscious desire to live. But the process of human development cannot be limited to this state, which separates him from the animal only by a thin partition of sociality, which is initially expressed only in the internal orientation of each member of society to create and strengthen the collective good.
The “collective good” itself presupposes a certain competitiveness in relation to the surrounding nature, large animals, other tribal or tribal communities. This competitiveness forces a person to activate his internal forces and direct them to replay opponent, as happens today, for example, in sports. This “labor”, “hunting” and “play” tension is necessary so that it is a specific person, his society, and not a rival, who gets the prey and so that he himself does not become the prey of another, for example, a cave bear or a saber-toothed tiger. This tension develops intelligence, gives rise to new unexpected actions, awakens and forms new internal strengths and abilities of a person, which over time, in a prosperous community, can become independent values.
This is how a new stage in human development is formed. A member of a community of people discovers a new interest in life, recognizes new possibilities and abilities in himself and begins to enjoy not only life itself, but also the fact that how he enriches it, what new things he brings to it. He is persistent and sometimes fanatically devoted to his work, passionate and in his passion forgets about everything in the world, he is devoted to his hobby and is most often highly productive in his hobby. Values no longer exist for him well-fed life, carnal pleasure, cosiness And peace. He's creatively obsessed and in this obsession finds his true human happiness. This is how science moves forward - in a stubborn desire to go beyond the boundaries of what is known, to look into the future. This is how technology moves forward - in a stubborn desire to create something that has never existed before. This stubbornness drives science, philosophy, and social progress. But these obsessive, passionate people are selfish in their own way, because they are focused only on their passion, on their chosen business, on their favorite activity, sparing nothing for its success. This level of development of a person and his culture can be defined as level of self-realization, valuable not only for a person, but also for society, because a creative orientation enriches society with new opportunities and resources. But the egoistic component of self-realization can create a certain vacuum around a passionate person, often dooming him to loneliness and depriving him of the simple joys of life. Therefore, this level of culture cannot be recognized as the highest form of human development.
If we turn to the language of philosophy, we can say that the vital level and the level of self-realization appear to us as opposites in the course of development. The vital level is the desire for satiety, carnal enjoyment of life, and, consequently, for a career and enrichment as a means of achieving chosen goals. Here we can encounter cruelty and cynicism, callousness and shameless pragmatism, extreme forms of selfishness and all types of crime, disregard for all forms of spiritual life and outrage against the spiritual values of society. This is the world that a person ultimately creates for himself, having embarked on the path of rabid hoarding and, accordingly, stopped at the first stage of cultural development, differing only in one thing from an animal - competitive superiority in strength and arrogance. If in early primitive society the vital need was the norm, because it protected the inner world of the community from the outside world in the competition for the means of survival, then later, in a later period, it acquires a negative meaning, because it no longer stands for the protection of the community or tribe, but serves, as a rule, a specific individual or his clan, directing his overwhelming destructive force directly against society, which becomes a limitation for him, a force to restrain hidden or overt aggression coming from him.
The level of self-realization is largely indifference to satiety and the desire for an active spiritual life, from the simplest forms of self-discovery in sports to more complex processes of self-discovery in science, art and technical invention. IN in this case self-disclosure, self-realization of the individual should benefit society as creation, as enrichment with new experience of relationships with the outside world, new opportunities for interaction with each other and with nature. The culture of self-manifestation, self-realization in ancient society arose as a phenomenon of protection not from the outside world, but from stagnation, from death, when large associations of people were formed - tribal unions, in which resources were accumulated to support creativity and creation, awakening society to development and accumulation of internal strength , identifying new opportunities. We can partially agree with V.M. Mezhuev that culture is the basis of freedom, and the discovery culture was associated with an understanding of independence and freedom in human development both from nature and from God.
“It consisted, apparently, in the discovery a special kind of being, owes its existence neither to God nor to nature, but to the man himself as a being, relatively free from both,” argues V. M. Mezhuev, “culture is everything that exists due to human freedom, as opposed to what does not depend on man, exists according to its own laws.”
But a representative of a culture who had reached the level of self-realization still had a natural flaw associated with the fact that in his hobbies, in his usually unselfish desire for something new, for discovering new horizons of the spiritual experience of mankind, he forgot about his neighbors, about real people , sometimes becoming indifferent and even cruel towards their lives, problems and destinies. Here he acted as a person of an egoistic nature, unable, because of his hobbies, to sometimes see the troubles of those around him, even very close people. This is a heavy price to pay for the opportunity to immerse yourself in a business that captivates a person. Such a person creates primarily due to his inner impulses, without seriously thinking about the good of his neighbors, although he becomes useful to society, without always realizing it. But it can be not only useful, but also harmful and destructive. Self-realization of a person can be hostile to culture.
The highest and full-fledged level of culture is the level of the spiritual elite. The concept of “spiritual elite” should not be associated with snobbery, swagger and arrogance of rich or noble people, representatives of big business or high-ranking government officials. The spiritual elite is a level of culture when it is not wealth or nobility, power or high education itself that distinguish groups of people into any special typological group. Elite culture consists of the continuous creativity of a person in all spheres of his existence, but his view of the world subtly notices the features of the human environment with which he identifies himself, in which he is immersed. In this case, he is freed from the burden of egoistic rejection of the people around him, a certain alienation from their destinies, but in his attitude towards people he shows knowledge of life and awareness, meaningfulness of any action, thoughtfulness and at the same time - the need for help and support provided in one form or another . Elite culture presupposes the presence of interconnection, harmony of the internal and external world of a person, balance of forces and balance of relationships. This is a kind of limit of spiritual maturity, which does not close the path to further development, but, on the contrary, opens up endless scope for life and creativity at this level.
The concept of levels in cultural studies can be translated into a test system, scaled and can be used as a kind of measuring device that determines cultural levels. But the concept of levels can also act as a theoretical basis for predicting the behavior and actions of a person who is at one or another level of cultural development.
The basis for identifying levels of culture and, accordingly, culturality are the different dominant needs of a person or social group. At the first, lowest level, these are the needs of survival and ensuring one’s own life. On the second – the need for self-expression, self-realization, an interesting and purposeful life. At the third level, the determining factors are the needs for spiritual wealth itself, accumulated and realized in relations with the outside world, with other people. Of course, we are talking about what dominates in each case, and not about what can be completely done without satisfying, say, vital needs. But their satisfaction can also be close to bestial or more cultivated, formalized, ennobled.
Of course, between the levels in the ascent to a high, full-fledged culture, there are many intermediate steps, and each of them is unique and deserves independent characterization. But the general tendency to reveal the dominants of consciousness in the course of goal-setting of the life process and the development of certain value orientations in the sphere of culture can provide a basis for assessing a person’s culture and predicting his general life aspirations, actions and actions.
Ideas about the levels of culture and culture are fully consistent with the value-humanistic vision of culture and its development. What we call cultural values is apparently acquired by people in different ways and is realized to varying degrees in the lives of individuals and human communities. At the same time, of course, it is not indifferent to what exactly we call cultural values.
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The sociocultural world of a child is his socio-pedagogical characteristic that determines the uniqueness of his perception of the surrounding reality (living environment), response to it and manifestations in it in the process of social changes in his personality in accordance with age. It characterizes typical reactions, attitudes and behavior in a particular society.
There are typical
th and individual sociocultural world of the child. Typical is a sociocultural world characteristic of a certain age. It emphasizes what is natural in the child’s perceptions and reactions at this age stage. It is distinguished by taking into account knowledge of the patterns of age and social development and upbringing of children. With its help, you can assess the uniqueness of the child’s social development of this age, its correspondence or inconsistency in development, the acquisition of social experience as an individual. In other words, through the typical sociocultural world it is possible to determine the course of a child’s socialization, its correspondence to age and level of social development and upbringing.
The individual sociocultural world testifies to the peculiarities of the social development and upbringing of this particular child, his individual uniqueness. With its help, you can assess the level of compliance or non-compliance, advance or lag of the socialization process at a given stage. Each child is extremely individual, and at the same time he is typical depending on his age, level of social development and upbringing. Thanks to this, we compare children of the same age, evaluate them and draw conclusions about compliance, delay or advance in social development.
The main socio-pedagogical qualitative characteristics of the child’s socioculture are:
Perception environment and the reaction to it;
State of mind and experiences;
Self-manifestation (manifestation of the self), attitudes and relationships;
Behavior, actions and deeds.
Perception of the environment and reaction to it. A child's perception changes with age. It depends on his development, socialization and social enrichment. It is the mental development of the child that determines his intellectual and social change, which, in turn, affects the development of his psyche. Features of mental development at various age stages are studied by developmental psychology.
Speech. Children have a natural predisposition to master language. This is one of the aspects of human sociality. Characteristically, noted the famous domestic psychologist A.R. Luria (1902-1977) that twins are able to form “their own” language, allowing them to communicate and understand each other. Big educational value Ushinsky attached importance to the study of his native language, since, “learning native language, the child learns not only words, their additions and modifications, but an infinite number of concepts, views on objects, many thoughts, feelings, artistic images, logic and philosophy of language, and learns easily and quickly, in two or three years, so much that and he cannot master half of that in 20 years of diligent and methodical study.”
Speech, by its nature, is social: the child has a predisposition to master language, but it develops into an ability only in the presence of a social factor, the uniqueness of which determines the child’s corresponding ability to master speech.
Each language is the result of the centuries-old spiritual life of a particular people; it is an organic combination of folk thought and feeling, which is why a language can be fully mastered only in the environment, among the people where it was developed. Studied outside of this setting and therefore absorbed superficially, it will never have the appropriate developmental influence. Getting acquainted with the native language from the first days, the child initially perceives the spiritual life of the people, connecting with it. That is why Komensky and Ushinsky recommended starting with mastering the native language, and then, after it is well mastered and has had its beneficial effect, taking on a foreign language. In itself, a foreign language studied by a child in a Russian setting, noted Ushinsky, “will never have such a strong influence on his spiritual development as his native language would have; will never penetrate so deeply into his spirit and body, will never take such deep, healthy roots, promising a rich, abundant development” of him as a person.
The linguistic environment shapes the child’s sociocultural world. This can be observed in language manifestations in children. There is an expression “little old man” or “little grandfather”. This is the name given to a child raised primarily by an older person. He adopts a lot: behavior, language, judgments, etc. It is typical that teachers, especially in lower grades, easily recognize the parents of their students by their behavior, language, and other manifestations.
The child’s mental state determines his personal (subjective) emotional assessment of his internal state and the attitude of the people around him. A child’s emotional response reflects the characteristics of his child’s personality: a reaction to an internal comfortable state and discomfort, to the attitude of others towards him, an attitude towards the person with whom he interacts, an assessment of his actions and deeds, to what extent they are aimed at his safety and protection, assistance him, etc. At its core, it determines the social well-being or ill-being of the child and affects his reaction, behavior and manifestation.
A child’s mental experiences are his emotional state in a given specific environment, his attitude towards to a loved one, for good or evil, truth and untruth; sensitivity to injustice. They largely shape the stability, balance or irritability of the psyche, the capriciousness of the child in relationships and manifestations. The mental states and experiences of children are closely interrelated and characterize their originality.
They naturally form a phenomenon such as children's fear, which is a kind of reaction of the child, reflecting his desire for self-preservation. Under certain conditions, fear can turn into pathology. For example, an unexpected, sharp and strong sound, a scream; long-term influence on the child’s psyche of factors that significantly affect his sense of safety (frequent stories about scary stories, magical fairy tales beyond their age; prolonged, frightening darkness and loneliness, etc.). Social and pedagogical illiteracy of parents, typical mistakes, allowed by them in the process of caring for and raising a child, manifest themselves when through their actions they stimulate the formation and strengthening of the child’s sense of fear, turning it into a pathology, and do not pay enough attention to its prevention and overcoming.
Self-manifestation (manifestation of the self), relationships and relationships of the child. The child’s way of life forms in him that individual that determines his self, the characteristics of self-manifestation, “relationship to the phenomena of the reality surrounding him, interaction in typical situations of the living environment. All this is also expressed in the relationship to himself, mother (father), and grandmother (grandfather), elders, younger ones, to peers, etc. These relationships of the child may change over time depending on life situations, the acquired experience of social behavior and self-improvement.The position of the individual’s self may also become different over time, but it may also strengthen due to life circumstances.
Socio-cultural activity is a vast and heterogeneous phenomenon. Levels of socio-cultural events differ in the content of creative elements, the degree of development of forms and their readiness for practical use.
The creative level is characterized by the predominance of new aspects in the actions performed. At this level, participants in socio-cultural activities begin to reveal their creativity. Creativity is most clearly manifested in creating a script, writing music and lyrics, composing poetry, formulating a director's plan, sound, light and technical design of a socio-cultural event.
Phenomena of the reproductive and creative level include such events of socio-cultural activity, during which a person discovers something new for himself, which is objectively no longer new. Most of the operations and actions of participants in socio-cultural activities are reproductive and creative in nature, starting from learning words literary works and ending with the construction of a stage image.
The reproductive level of socio-cultural activity is characterized by simple reproduction of established forms, objects and methods of work. Certain types of economic and technical support for socio-cultural events can be attributed to this level: film screening, photo printing, book distribution, radio broadcasting, accounting and control activities.
According to the degree of their development, social and cultural activities belong to the levels of simple and complex forms. The level of simple forms is characterized by a small amount of creative and organizational efforts used during preparation, relative ease of implementation, stereotypedness and uniformity of impact. This level includes such forms of socio-cultural activities as cinema and video sessions, excursions, classes in lecture halls, question and answer evenings, lectures, consultations, viewings of military training, newsreel films and videos, meetings with veterans, scientists and literature figures. and art.
The vast majority of socio-cultural events belong to the level of complex forms. For example, to prepare and effectively conduct a theme evening, a large number of creative and organizational efforts are required, from developing a script to solving material, financial, transport and information problems. The compositional structure of a thematic evening requires careful dramatic and directorial elaboration of all its components. Particular attention is paid to the semantic content of the concepts and artistic images used, their originality and attractiveness. The mechanisms of socio-cultural impact must be carefully worked out and combined, and the impact itself must have a harmonious, multi-genre character.
According to levels of readiness, socio-cultural events are divided into unprepared, raw and fully prepared. Social and cultural events of an unprepared level are characterized by the lack of a theme, idea, plot-shaped composition, connection with real life and service, scenographic and artistic-figurative solutions, editing scores, unpreparedness of the stage area, performers, presenters, and members of the production team.
Raw socio-cultural events are characterized by miscalculations in the organization (in terms of time, placement, meetings, announcements, etc.), lack of coordination of individual program elements, unrehearsed or low level of execution of numbers, and inconsistency in the actions of active participants in the event. At the same time, all the main components (the presence of ideological and thematic orientation, composition, action, production support) are present in the socio-cultural program.
Those socio-cultural events are considered fully prepared, during the preparation of which all preparatory actions were completed, from formulating the goal to conducting a dress rehearsal.
The readiness of a socio-cultural event is assessed according to three main criteria:
Formal: readiness by time (start and duration); compliance with the planned form and theme; readiness of the audience, participants and support staff;
Qualitative: readiness of content, methodology and organization;
Satisfaction: performers, participants, spectators, management.
The most common forms of organizing social and cultural activities in the RF Armed Forces are concerts, performances, sessions, screenings, screenings, excursions, evenings, exhibitions, meetings, compositions, conferences, games, competitions, days, classes, lectures, consultations and other events.
A concert is one of the most complex forms of socio-cultural activity, which combines various genres of performing arts. Concerts can be thematic, theatrical, anniversary, etc. In a thematic concert, a choir, folk dance, song, conversational genre, plastic choreography, and circus acts are used to reveal the theme. The script for a theatrical concert is based on a number - a small theatrical action connected with other numbers by a single thematic content and plot line.
Performance – theatrical performance based on dramatic work, which has its own plot-shaped content (composition) and director's decision.
Sessions (shows, screenings) are forms of socio-cultural activity in which the main channel for obtaining information is the visual perception of artistic images. Their difference lies in the fact that before or after the screenings there is commenting, after the screenings there is a discussion of the perceived material, and the sessions are held without comments or discussion. There are film, video, DVD sessions, screenings and screenings, fashion shows, folk items applied creativity, ancient weapons, viewing collections of paintings, filmstrips, slides, etc.
An excursion is a cognitive and developmental form of socio-cultural activity, the distinctive feature of which is the spatial movement of participants while simultaneously showing and explaining the surrounding cultural elements. In the army and navy, the most common are excursions to places of military glory, to industrial and agricultural enterprises, to museums, art galleries and to exhibitions.
Evening is a form of socio-cultural activity that combines various compositional and technological elements. A distinctive feature of the evening is a comprehensive solution to the problems of education, development, training, entertainment and recreation of military personnel, civilian personnel and members of their families. Evenings can be thematic, literary and artistic, film lectures, celebrations, meetings, military cooperation, questions and answers, relaxation and others.
The most complex form is a theme evening - an ideologically and plot-organized chain of oral presentations, theatrical performances, visual images, interconnected by a certain composition and director's move. As a rule, it consists of a stage and a mass part and involves the participation of real heroes. A variation of the theme evening is a children's matinee.
An exhibition is a form of socio-cultural activity, the purpose of which is to demonstrate the results of some activity and inform about ways to achieve them. Military cultural institutions organize exhibitions of technical creativity, decorative and applied arts, new books, and others.
Meetings are the general name for socio-cultural events, a mandatory element of which is direct communication between participants. The Russian Armed Forces practice meetings between veterans (of war, military service, labor), fellow soldiers, graduates, with combatants, scientists, cultural and artistic figures.
Composition is a short-term socio-cultural event, where artistic episodes and numbers of various types are combined in a compressed compositional form. genre orientation. The composition is usually staged to provide cultural and artistic emphasis on a social phenomenon, anniversary, or celebration. Depending on the predominance of a particular genre, the compositions can be literary, musical, choreographic (dance, ballet), theatrical, sports and games, etc.
A conference is a special cognitive and communication form of socio-cultural activity intended for the formulation and regulated discussion of important cultural, scientific, service, educational, social, legal and other problems military service. The result of the conference is a resolution (decision, communique), which has a recommendatory nature. Military cultural institutions prepare themselves or participate in holding reading, spectator, parent, military-scientific, military-legal and other conferences.
Game as a form of socio-cultural activity is an activity based on interest, serving for entertainment, relaxation, and competition. There are many approaches to classifying games. They vary depending on: the number of participants - individual, group, mass; age of participants – children, youth, adults; content orientations - entertaining, sports, intellectual, plot, paramilitary, theatrical; forms of organization - performances, competitions, competitions, matches, fun, board games, etc. Most games held as part of socio-cultural activities are of a combined nature. For example, mass story games, which are an obligatory element of most traditional Russian folk holidays (“Cossacks-Robbers”, “Geese and Wolves”).
A competition is a competitive form of socio-cultural activity aimed at identifying (singling out) the best participants or the best works. They can be musical, dance, sports and games, various (technical, legal, etc.) knowledge and skills, cheerful and resourceful, drawings, poems, etc. Competitions are held independently or as part of a larger socio-cultural event.
Days are complex forms of socio-cultural activity, the thematic content of which is revealed over a long period of time (a day, several days, a week). During this period, various events are organized dedicated to a specific topic, category of people, phenomenon or event. The army and navy provide for the celebration of days of military glory (victorious days) of Russia, days of branches (branches), other troops, military formations and bodies, parents' days, family vacations, book introductions, open doors, etc. As part of the events, associated with seeing off conscripts at military service and the dismissal of military personnel from the ranks of the RF Armed Forces, days are organized for conscripts, taking the military oath, initiation into cadets (paratroopers, tank crews, submariners), presenting weapons and military equipment, and seeing off those dismissed from the ranks of the RF Armed Forces.
Classes, lectures, consultations are educational forms of socio-cultural activities in which educational, cognitive, developmental or rehabilitation tasks are solved using the means of culture and art. Military cultural institutions organize and conduct classes in radio, video, television clubs and other amateur club associations, clubs in various branches and genres of amateur artistic and applied creativity, clubs and schools of aesthetic education, lecture halls of military and legal knowledge.
A special form of socio-cultural activity is the work of club (heroic professions, protection and restoration of cultural monuments, seekers, housewives) and sports (chess and football fans) associations, technical and arts and crafts clubs.
Self-test questions:
On what grounds do the levels of socio-cultural activities differ?
Give a description of the levels of socio-cultural events based on the content of creative elements in them.
Give a description of the levels of socio-cultural events according to the degree of development of their forms.
Describe the levels of socio-cultural activities according to their readiness for practical use.
Name the criteria for assessing the readiness of a socio-cultural event.
List the main forms of socio-cultural activities in the RF Armed Forces.
Describe a specific form of socio-cultural activity (optional).
§ 30. The essence of modern socio-cultural policy of the state.
State cultural policy (state policy in the field of cultural development) is a set of principles and norms that guide the state in its activities to preserve, develop and disseminate culture, as well as the state’s activities in the field of culture.
The state cultural policy of the Russian Federation at the present stage has a number of essential features. First of all, this is a policy of cultural pluralism in conditions of ideological diversity (Article 13 of the Constitution of the Russian Federation). Secondly, this is a policy that provides the necessary conditions for the implementation of the constitutional rights of citizens to freedom of creativity, access to cultural values, and a policy aimed at preserving historical and cultural heritage. Thirdly, this is the policy of state paternalism in relation to the cultures of indigenous peoples of the North, Siberia and Far East(in Russia, 65 ethnic groups are classified as small, of which 40 are the peoples of the North, Siberia and the Far East). Fourthly, this is a policy of respect for other cultures, customs, religions, the plurality of regional and ethnic cultures, partnerships between the state, business, and civil society.
The Russian Federation recognizes the equal dignity of cultures, equal rights and freedoms in the field of culture of all peoples and other ethnic communities living in it, promotes the creation of equal conditions for the preservation and development of these cultures, ensures and strengthens the integrity of Russian culture through legislative regulation of federal state cultural policy and federal state programs for the preservation and development of culture. Organs state power and administrations of the Russian Federation must take into account cultural aspects in all state programs of economic, environmental, social, and national development.
The fact that Russia is a multinational (176 peoples and ethnic groups), multi-confessional (about 70 confessions, 21 thousand religious organizations) state leaves its mark on state cultural policy. There are 15 federal national-cultural autonomies (FNCAs), more than 300 regional and local, and more than a thousand other national public organizations registered in the country. Cultural-national autonomy means the right of these ethnic communities to freely realize their cultural identity through the creation, based on the will of the population or on the initiative of individual citizens, of national cultural centers, national societies and fraternities. State support for the national and cultural development of the peoples of Russia, the implementation of the Concept of the State National Policy of the Russian Federation occurs through federal and regional programs for the development and preservation of culture and art. The state, through the Ministry of Culture of the Russian Federation, annually takes part in financing activities to support Slavic, primarily Russian, culture, as well as the cultures of the Turkic, Caucasian, Finno-Ugric, Mongolian and other peoples of Russia.
State support for culture is not only money allocated for the maintenance of cultural organizations and holding events, but also the formation of a legal framework for the regulatory framework in the field of culture, art, cinematography, national relations, and promoting the development of multilateral cooperation in this area. Now the emphasis is on more effective use of the existing potential and cultural heritage, preservation of a single cultural space and expansion of the cultural offer in order to equalize the opportunities for access to cultural values of Russians representing different territories, ethnic and social groups, and the formation of a socially oriented creative personality, a patriot and citizen actively participating in the transformation and modernization of Russian society.
In the Russian Federation, cultural activity is an inalienable right of every citizen, regardless of national and social origin, language, gender, political, religious and other beliefs, place of residence, property status, education, profession or other circumstances. Human rights in the field of cultural activities have priority over the rights in this area of the state and any of its structures, social and national movements, political parties, ethnic communities, ethno-confessional groups and religious organizations, professional and other associations.
A person’s right to engage in creative activity can be exercised on both a professional and non-professional (amateur) basis. Professional and non-professional creative workers have equal rights in the field of copyright and related rights, intellectual property rights, protection of the secrets of craftsmanship, freedom to dispose of the results of their work, and state support.
Every person has the right to become familiar with cultural values, to have access to state library, museum, archival funds, and other collections in all areas of cultural activity. Availability restrictions cultural values for reasons of secrecy or special regime of use are established by the legislation of the Russian Federation. Persons under eighteen years of age are guaranteed the right to visit museums free of charge once a month.
The state is responsible to citizens for providing conditions for the general availability of socio-cultural activities, cultural values and benefits. In order to ensure universal accessibility of cultural activities, cultural values and benefits for all citizens, state authorities and administration bodies, local government bodies, in accordance with their competence, are obliged to:
Encourage, including through tax and price policy, the activities of citizens to introduce children to creativity and cultural development, self-education, amateur art, and crafts;
To create conditions for universal aesthetic education and mass primary art education, first of all, through the humanitarization of the entire education system, support and development of a network of special institutions and organizations - art schools, studios, courses, maintaining free basic services for the population of libraries of all departments, amateur art ( amateur artistic creativity);
To stimulate, through tax incentives, loans, priority transfer of buildings and other means, the creation and activities of state and non-state, including private cultural organizations, to promote the development of their material and technical base;
Provide budget financing of state cultural organizations and, if necessary, take part in the financing of non-state cultural organizations;
Promote the development of charity, patronage and sponsorship in the field of culture;
Carry out your protectionism (patronage) in the field of culture in relation to the least economically and socially protected layers and groups of the population;
Publish annual data on the socio-cultural situation for the information of the population.
Citizens of Russia have the right to create associations, creative unions, guilds or other cultural associations. Bodies of state power and administration, local governments do not interfere in the creative activities of citizens and their associations, state and non-state cultural organizations, except in cases where such activities lead to the promotion of war, violence and cruelty, racial, national, religious, class and other exclusivity or intolerance, pornography.
The Russian Federation recognizes the exclusive role of the creative worker in cultural activities, his freedoms, moral, economic and social rights. The state has assumed the following responsibilities: to stimulate the activities of creative workers aimed at improving the quality of life of the people, preserving and developing culture; provide working and employment conditions for creative workers in such a way that they have the opportunity to devote themselves to creative activity in the form they desire; promote growth in demand from society and individuals for creative products in order to expand the opportunities for creative workers to obtain paid work; improve the social security system for creative workers, taking into account the specifics of creative activity; promote material security, social protection, freedom and independence of creative workers and teachers devoting their activities to traditional and folk culture; improve the taxation system for creative workers, taking into account the specifics of their activities; assist artists in expanding international creative contacts; expand opportunities for women's participation in various fields of cultural activity; implement the provisions of the UN Declaration of the Rights of the Child, taking into account the specifics of a child engaged in creative activities; provide creative workers with preferential conditions for access to relevant educational institutions, libraries, museums, archives and other cultural organizations.
The implementation of a cultural policy that takes into account these requirements presupposes the practice of state procurement, state participation in providing the cultural sector with labor, financial and material resources, the creation of an effective legal framework, and the adoption of protectionist measures in support of domestic culture. The cultural heritage of the peoples of the Russian Federation, including cultural values stored in the funds of state and municipal museums, archives and libraries, art galleries, in the assortment rooms of enterprises of the art industry and traditional folk crafts, including the premises and buildings where they are located, are not subject to privatization .
The Ministry of Culture of the Russian Federation has determined that the main tasks in the modern historical stage are: development of a new federal target program for the development of culture until 2010; wage reform for industry workers; improving the regulatory framework, strengthening the fight against piracy, creating conditions for patrons and cultural sponsors; introduction of the competitive-contractual principle of labor relations, including management structures and directors; modernization of the information, technical and material and technical base of the industry; improving cooperation between all executive authorities in the implementation of federal programs in the field of culture.
Self-test questions:
What is the socio-cultural policy of the state?
Name the essential features of the modern socio-cultural policy of the state.
Name the subjects of Russian cultural policy?
What is the role of national and religious factors in the state cultural policy?
Name the directions of modern socio-cultural policy of the state in the near future.
§ 31. Ethnography of socio-cultural activities.
Ethnography of socio-cultural activities is a body of knowledge about the national characteristics of the use of cultural and artistic means and their influence on the life, customs and traditions of peoples (ethnic groups). Ethnicity is a historically established stable community of people, the obligatory elements of which are national identity, territory, language, material and spiritual culture.
In Russia there are three large historical and ethnographic areas - European part Russia, the Caucasus, Siberia and the Far East.
In the European part of Russia, the most numerous are three related East Slavic peoples: Russians, Ukrainians and Belarusians. They make up 85.3% of the country's total population and are settled not only in the European part, but also in many other regions. The non-Slavic peoples of the European part occupy mainly its peripheral territories: part of the northern regions (Finno-Ugric peoples - Karelians, Vepsians, Sami, Komi, Komi-Permyaks); Middle Volga and Kama region (Finno-Ugric peoples - Udmurts, Mari, Mordovians; Turkic-speaking peoples - Chuvash, Tatars and Bashkirs); Mongol-speaking Kalmyks are settled in the southeast. Most of these peoples have long been neighbors of the Eastern Slavs and, thanks to centuries of communication, have become closer to them in their cultural and everyday way of life.
The North Caucasus is the most difficult national composition region of Russia. Now over 50 different peoples live here. The peoples of the Caucasus for the most part belong to three language families: North Caucasian (Avars, Dargins, Chechens, Ingush, Adygs, Kabardians, Circassians, etc.), Turkic (Kumyks, Karachais, Balkars, etc.) and Indo-European (Armenians, Greeks, Ossetians , Russians, Ukrainians). A significant part of the Russian and Ukrainian population North Caucasus formed by the Kuban, Greben and Terek Cossacks.
Russians, Ukrainians and Belarusians make up 9/10 of the total population of Siberia and the Far East. They form the bulk of the inhabitants of the cities, as well as most of the villages along the Trans-Siberian Railway. The relatively small indigenous peoples of Siberia and the Far East (just over 1 million people in total) are located on a vast territory, many times larger than the area of all European states. The Yakuts speak one of the Turkic languages. In the Altai and Sayan region there are also Altaians, Shors, Khakassians, and Tuvans who speak Turkic languages. Turkic-speaking and living in Western Siberia Siberian Tatars. The Buryat language is part of the Mongolian group. The remaining indigenous peoples of the Siberian-Far Eastern region belong to different groups by language. Turkic languages are spoken by Dolgans and Tofalars, Finno-Ugric languages by Khanty and Mansi, Samoyed languages by Nenets, Nganasans and Selkups, Tungus-Manchu languages by Evenks, Evens, Nanais, Orochs and Udeges, Chukchi-Kamchatka languages by Chukchi, Koryaks and Itelmens, Eskimo- Aleutian - Eskimos and Aleuts.
The majority of the peoples of Russia are characterized by the gradual erasure of internal differences (local dialects, local forms of material and spiritual culture), the development of processes of national consolidation, and the merging of related or culturally similar ethnographic groups with the main part of the ethnic group.
Socio-cultural characteristics of the peoples of Russia.
The Slavs (Russians, Ukrainians, Belarusians) are the most numerous peoples of Russia, similar in socio-cultural structure. Slavic culture is objectively the basis of socio-cultural activities organized in the Armed Forces of the Russian Federation.
The basis of Russian folklore is songs. They do not represent a single genre. There are different types of songs: love songs, women's songs, lullabies, valiant songs, coachman songs, burlatsky songs, soldiers' songs, comic songs, game songs and other songs. Historical songs are dedicated to the popular uprisings of Stepan Razin, Emelyan Pugachev, the conquest of Siberia by Ermak, military exploits in the era of Peter the Great and Catherine, the Patriotic War of 1812, the Russian-Turkish wars of the 19th century, world and local wars of the 20th century. Massive folklore genre, which has penetrated into all aspects of the life of the Russian people, is a lyrical non-ritual song. A specifically Russian form of the historical-epic genre are epics, where the heroes are heroes (Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Vasily Buslaev). Close to the song are ditties - party rhyming four-line songs, very diverse in their themes. A remarkable achievement of Russian musical culture is choral polyphony.
The song nature of Russian musical creativity also affected instrumental folk music, which in most cases either accompanied singing or imitated it, and was built according to the laws of song melody. Since the middle of the 19th century, the accordion has gained a leading place in Russian musical life, especially in various local versions (Tula, Vyatka, Saratov, etc.). The guitar gained recognition in the city. An ancient traditional form of Russian dance art is round dances. They formed the basis for the development of diverse Russian everyday and story dances.
The alternation of work and rest, the forms and nature of Russian cultural leisure are largely determined by the dates of the natural, secular and religious calendar. Christmas, New Year, Maslenitsa, Trinity, Kupala, and autumn fair rituals are widespread. Of the family families, the Russians received the greatest development wedding ceremonies. Almost all ritual holidays of Russian Cossacks are accompanied by competitions in chopping, shooting, and horse riding. A characteristic feature of many of them are “gulebnye” games, staging military battles or Cossack “freedom”.
The fairy tale has been the most popular prose genre in Rus' since ancient times. There are still everyday, satirical and anecdotal tales. Until recently, works of non-fairy tale folklore prose - legends and traditions, in which the memory of real events intricately intertwined with traditional fairy tale plots.
Russian arts and crafts are characterized by simplicity and rationality of forms and ornamental design. Wood and metal, clay and glass, bone and horn, fabric and leather are subject to artistic processing. Fine art manifests itself in painting, carving, sculpture, painting, graphics, artistic weaving and weaving, printed material, embroidery, and jewelry.
Ukrainians are a people of ancient poetic culture, diverse in genre structure and musical expressiveness. Nowadays, ancient Ukrainian calendar and family ritual poetry (“carols”, “shchedrivka”, “vesnyanka”, etc.), wedding and funeral songs, spells, proverbs, sayings, fairy tales, and legends have been preserved. In Kuban, the song tradition of the Cossacks has been preserved, which expresses the reckless prowess of the Cossack, longing for family and homeland. Ukrainian folk lyrical song enjoys particular success in areas densely populated by Ukrainians in Russia. Ukrainian national cultural societies are created here, folklore ensembles, amateur creative theater studios are organized, evenings and holidays of Ukrainian culture are held.
The predominant color in the national clothing of Belarusians is white. Like Russians and Ukrainians, Belarusians widely celebrate calendar holidays - Christmastide (kalyada), Easter (vyalikdzen), Trinity (semukha), Kupala, zazhynki, dazhynki, pakrow, dzyady (All Souls' Day). Family rituals include wedding, maternity and funeral. An important point in maternity rituals is the choice of godparents, the section of “grandmother’s porridge”. Belarusian folklore includes legends, traditions, fairy tales, epics, anecdotes, etc. Song folklore, influenced by Polish and Lithuanian culture, is extremely rich. Traditional musical instruments - cymbals, pipes, bassetli (bowed string), zhaleiki (reed wind), lyres, tambourines. Traditional dance is the spring-summer and winter round dance (karavod, tank), polka, square dance, Lyavonikha, Yurachka, etc. are common. The cultural tradition of Jews and Gypsies is closely adjacent to the socio-cultural way of life of the Slavs.
The socio-cultural way of life of the Turkic-speaking peoples of the Volga region, the Urals and Siberia (Tatars, Chuvash, Bashkirs, Yakuts, etc.) is influenced to a certain extent by religious and geographical factors. However, the main feature of the modern socio-cultural activities of these peoples is its fairly strong intertwining with Russian culture.
Currently traditional system The festive culture of the Tatars has undergone significant changes. Since 1992, two religious holidays - the Muslim Kurban Bayram and Christian Christmas - have been included in the official holiday calendar of Tatarstan. The old summer festival of jien, during which guests, youth celebrations and games took place, gradually transformed into Sabantuy, which is held throughout the republic after the completion of sowing. In the set of games and competitions held at Sabantui and other Tatar folk festivals, horse racing and wrestling, running, long jumping, pulling each other over a stick, getting a coin out of a bowl of milk with your lips, climbing a smooth pole for a prize, and fighting are mandatory. bags on a log, etc. Among the Siberian Tatars, various games are active forms of recreation: zhuga, babki, gorodki, etc. On New Year's days (Nardugan), girls' games are held in houses, accompanied by various fortune-telling. Baptized Tatars (Kryashens) celebrate Christian holidays, which contain traditional Tatar elements.
The oral folk art of the Tatars includes epics, fairy tales, legends, bytes, songs (quatrains, lyric, dance, ditties), riddles, proverbs and sayings. Tatar music is based on the pentatonic scale, close to the music of the ancients Turkic peoples. Musical instruments: accordion-talyanka, kurai (flute), kubyz (jaw's harp), violin, and among the Kryashens - gusli.
The professional culture of modern Tatars has a close connection with folk art. National Tatar literature, music, and theater have achieved significant development. Applied ornamental art has been developed (gold embroidery, tambour embroidery, leather mosaic, filigree, engraving, embossing, stamping, stone and wood carving), and graphics.
The main folk holidays of the Bashkirs are similar to the holidays of the Tatars. In the spring and summer, a kargatuy (“rook festival”) is held, the participants of which treat each other to ritual porridge, tea, dance in circles, and compete in running. On the eve or after spring field work, a plow festival (Sabantuy) is held, where, after a common meal, wrestling, horse racing, running and archery competitions, and fun competitions are held. In mid-summer, the Jiin festival takes place. Sabantui and Djiins have now become common holidays of the peoples of Bashkiria.
Leading place in Bashkir oral and poetic creativity occupies the epic (“Ural Batyr”, “Akbuzat”, etc.). Fairytale folklore is represented by magical, heroic, everyday tales, and tales about animals. Favorite characters are the youngest son, stepdaughter, Taz (“Bald”), Aldar, Erense.
Among the Bashkir people, song and musical creativity is developed: epic (about warriors, fugitives, convicts, native land), lyrical and everyday songs, takmak ditties. Various dance melodies. The dances are characterized by narrative, many (“Cuckoo”, “The Crow Pacer”) have a complex structure and contain elements of pantomime. Traditional and borrowed musical instruments of the Bashkirs are kurai (pipe), domra, kumyz (Jew's harp), bowed kyl kumyz, violin, accordion, mandolin.
The interweaving of traditional and Muslim beliefs, especially native and funeral and memorial beliefs, is observed in the rituals of the Bashkirs. They retained such elements of traditional beliefs as the veneration of rivers, lakes, forests, heavenly bodies, animals and birds. Nowadays, some myths and legends are included in the plots of works of professional art of the Bashkir people.
The modern socio-cultural sphere of the Chuvash combines elements of Russian, Finno-Ugric and Tatar cultures. For festive rituals Chuvash people big influence are exerted by religious (Orthodox and pagan), labor, leisure, natural and other factors (spring plowing, flowering plants, rain, sun, ancestors). In the spring and summer, festivities with round dances are held, in winter there are gatherings (“girls’ beer”). The most developed genre of Chuvash folklore is songs that strictly correspond to the time, place, and occasion of performance. There are different types of songs: youth, ritual, drinking, recruiting, labor, lyrical and historical songs. Chuvash vocals are usually monophonic. Musical instruments - bagpipes, bubble, duda, harp, drum, accordion and violin.
There are widespread legends, fairy tales and traditions about the life of the ancestors of the Chuvash - the Volga Bulgars, the hero Ulyp, the capture of Kazan, Stepan Razin, Emelyan Pugachev. Novochuvash writing and literature were created in the 19th century by the Chuvash educator I.Ya. Yakovlev. The Chuvash national musical culture is represented by a song and dance ensemble, a chamber orchestra, a philharmonic society and a House of Folk Art. The Union of Composers operates in the republic, Musical Theatre, Faculty of Music and Pedagogy of the University. Amateur choral performance has been developed.
The culture of the largest Turkic-speaking people of Eastern Siberia, the Yakuts (Sakha), was strongly influenced by Russian Orthodoxy, local beliefs and culture of small peoples of the North. The Christian cult of the Yakuts is combined with belief in spirits, ancestral totems, and various deities. Main holiday Yakut - spring-summer koumiss Ysyakh, accompanied by games and sports competitions.
In folklore, the heroic epic was developed, performed by special storytellers in recitative in front of a large crowd of people. Historical legends most often tell about the ancestors of the Yakuts Omokhoy and Elley, who sailed from the south along the Lena River, and fairy tales talk about animals. Proverbs, riddles, and songs are popular among the Yakuts.
The Yakuts use two methods of singing: high solemn and ordinary. In the first method, with falsetto overtones creating the effect of two-voices, musical fragments of epics, appeals to patron spirits, praises, and song improvisations are performed. Love songs, dance songs, comic songs, and circle dance choruses are performed with ordinary singing. Special types of singing are associated with shamanism and hysteria. Jew's harp, violin, and tambourines are used as musical instruments. Among the dances, the most common dances are the round dance osuokhai, the game atah-tepsii, dierengkei, and kulun-kulurusu.
In Yakutia, artistic carving on wood and mammoth ivory, painting wood with alder decoction, chasing copper, silver and gold, blackening silver, weaving from horsehair, processing leather, fur, embroidery, and appliqué are very developed. The republic has a developed network of educational and scientific socio-cultural institutions (Institute of Language, Literature and History, local history museums, museum visual arts, drama and musical theaters).
The wealth of another Turkic-speaking people of Siberia, the Khakass, is represented by priceless treasures of folklore. In 1991, a new holiday based on ancient rituals was born in Khakassia - Ada-Hoorai. The most widespread and revered genre is heroic epic(alyptyg nymakh). It is distinguished by its significant volume (up to 10-15 thousand lines), a special poetic style, and low throat performance (hai). In Khakass folklore there are more than 500 prose works with different plots. Belief in the power of the magical effect of the word is expressed in such forms as good wishes (algys), curse (khaargys) and crying (syyt). According to the Khakass rule, every self-respecting person must compose one short ode about his destiny during his life. During the ritual, Khakass shamans first of all bless the sacred peak - the five-headed Borus. The philosophy of Khakass shamanism echoes the ancient religious teachings of China, Iran and Tibet.
The socio-cultural structure of the majority of the Finno-Ugric peoples of the European part of Russia (Mordovians, Mari, Udmurts, Komi, Karelians) was formed from the once united Ugric culture. Russian culture had a huge influence on this process and cultural characteristics neighboring regions. Until now, all of these peoples have common socio-cultural features. Family and calendar rituals of the Finno-Ugrians are close to the North Russian rituals. In the oral folk art of these peoples there are myths about the emergence of the earth, man, various animals, legends about the ancient history of the people, the ancestor heroes, fairy tales, proverbs, sayings, riddles. The Karelian epic is considered one of the most archaic in world folklore (“Kalevala”). Numerous elements of pagan beliefs are still preserved in the rituals of the Finno-Ugric peoples.
The main place in the folklore of these peoples is song creativity. Different local traditions have their own lyrical, playful, dance, wedding, recruiting, ritual songs of the hunter, fisherman and beekeeper, and special funeral melodies. The musical creativity of the Finno-Ugric peoples of the European part of Russia is characterized by both collective and individual traditions. The former are more manifested in the performance of non-ritual (epic, lyrical, round dance) songs, the latter - in matchmaker songs, wedding, funeral and memorial laments, lullabies. The Mari are characterized by polyphonic choral singing.
The most simple dances– walking in a circle with dance movements and dancing in pairs. The dances of these peoples are distinguished by a smooth, calm move, performed without sudden movements. One of the most important features of Finno-Ugric choreography is the obligatory improvisational part of the dance. Folk singing and dancing are accompanied by playing musical instruments: harp, harp, pipe, bagpipe, rattle, horns. Nowadays the accordion, violin, balalaika, and guitar are widely used.
The craftsmen of these peoples are well versed in metal processing techniques (casting, soldering, stamping, embossing, forging, inlay, enameling, granulation, etc.), spinning, weaving, embroidery, beadwork and pottery sculpting. Decorative wood carving is a traditional Finno-Ugric type of artistic creativity (gables of huts, wedding chests, platbands, weaving mills, spinning wheels and other wooden utensils). In addition to Russian, the socio-cultural way of life of the Finno-Ugric peoples of Siberia (Khanty and Mansi) was greatly influenced by the culture of the small peoples of the North - the Nenets and Evenks.
The socio-cultural way of life of the two numerous Mongol-speaking peoples of Russia - the Buryats and Kalmyks, despite their territorial distance from each other, is very similar. The ancient Buddhist tradition had a strong influence on the development of the culture of these peoples. One of the most striking types of spiritual culture, both among the Buryats and the Kalmyks, is folklore. Its main genres are myths, legends, traditions, heroic epics, fairy tales, songs, riddles, proverbs and sayings.
Among the Buryats, epic tales are widespread - uligers (“Geser”, “Alamzhi Mergen”, “Altai Shargai”, etc.), having from 2-3 to 25 thousand poetic lines. Their usual content is the struggle of heroes with enemies and monsters. Uligers are performed by rhapsodist singers (uligershins) accompanied by a two-stringed bowed instrument (khura). The most popular type of dance art among the Buryats is the round dance yokhor. There are a variety of folk instruments - strings, winds and percussion: tambourine, khur, chanza, limba, bichkhur, sur, etc. Among the Kalmyks, the main genres of folklore are drawn-out songs and good wishes. The main Kalmyk heroic epic “Dzhangar” is performed by Dzhangarchi storytellers.
The main motifs in the applied art of the Buryats and Kalmyks are the spiral (ram's horn), squares, rhombuses, zigzag lines, teeth, and “cosmic bodies.” In Buddhist temples (datsans, khuruls) icon painting, sculpture, embossing, and ornamentation are developed. Among the most ancient types of Buryat fine art are rock paintings - pisanitsa, sculptural and relief images of cult-ritual content (ongons).
A special section among the Buryats and Kalmyks is musical and dramatic art for religious purposes - shamanic and Buddhist ritual actions, mysteries. Are being reborn National holidays Saagalgan, Uryus Sar and others.
The national characteristics of the culture and art of the indigenous peoples of the North Caucasus are closely intertwined with the general Caucasian socio-cultural traditions.
Among the Avars and Dargins, the most numerous peoples of Dagestan, the main holiday is the day of the first furrow (otsbai). It is accompanied by ritual plowing, feasting, horse racing, and various games. Caucasian men devote their free time to board games (backgammon, chess, checkers), military sports (wrestling, running, stone throwing, horse riding, horse racing). Among the folklore forms, legends, fairy tales, proverbs, sayings, laments, songs (lullabies, lyrical, heroic), performed with or without music, are widespread. The musical instruments of the Avars are represented by bowed instruments (chag'ana, chagur), stringed instruments (tamur-pandur), wind instruments (lalu-pipe, zurna), and percussion instruments (tambourine, drum). There are a variety of dances - fast (Godob, Lezginka), slow (heren), men's, women's, pairs, collective.
Among the Kumyks, Karachais, Balkars and Nogais ( Turkic group) epics and ritual songs about demons are still preserved. Muslim and ancient Turkic mythology became widespread. Like other Caucasian peoples, ornamental art (wood carving, clay modeling for decorating niches, openings, cornices, fireplaces) reached a significant level. Monuments of Kumyk folklore are the heroic epic (yyr) about Minkyullyu, the batyrs Aigazi, Abdullah, Eldarush, and the rain song “Zemira”. Takmaks and saryns (quatrains-competitions), love (ashug) and humorous songs are popular among the people. Male polyphonic (bourdoning) singing has reached perfection. Kumyk theater is the first of national theaters Dagestan (created in 1930). Heroic poems (“Ahmed son of Aisyl”, “Koplanly Batyr”, “Mamai”, etc.), ritual poetry, lyrical destans, Cossack songs (Kazak yyrlary), fairy tales, legends, anecdotes, proverbs, sayings, riddles are popular among the Nogais.
Ossetians and Adyghe peoples(Adygeis, Kabardians, Circassians) the creativity of improvisational singers (Ashugs, Dzheguaks) is widespread. Among folk music there are many songs about Nart heroes, historical events. There are songs of lamentation, humorous and labor songs. Ossetians and Circassians organize dances on the occasion of weddings, during parties, and on national holidays. Dance tunes are many and varied. Along with new ones, old melodies are widely used - older people prefer to dance to them. Traditional games and the spectacles, like those of other peoples of the Caucasus, are of a militarized nature: shooting at stationary and moving targets, shooting at a gallop, the fight of riders for a mutton skin, the fight of horsemen and foot soldiers armed with sticks. Traditional pictorial motifs are stylized elements of the animal and plant world, characteristic horn-shaped curls. An Eastern Christian component (Georgian, Russian, Greek) can be traced in the social and cultural structure of Ossetians. In the folklore of the Chechens and Ingush, the main place is occupied by the Nakh heroic epic.
Among all North Caucasian peoples, men's national clothing consists of a burka, a Circassian coat with gazyrs, a hat, and soft high boots. Traditional weapons (daggers, pistols, sabers, guns) used in socio-cultural activities are decorated with a gold or silver frame. Women's clothing is decorated with gold or silver braid, gilded bibs or lace. Particular attention is paid to the slimness of a person’s figure.
Folk musical instruments of most Caucasian peoples are represented by a three-string violin with an arched bow, a tambourine and a harmonica, which was borrowed from the Russians around the 70s of the 18th century. The harmonica is played mainly by women, while all other national instruments are played only by men. Favorite dance is pair or group Lezginka.
The socio-cultural way of life of the indigenous peoples of the Far North and Far East was formed under the significant influence of harsh natural conditions, remoteness from large cultural centers. The Nenets, Chukchi and Itelmen are typical representatives of these peoples.
Oral folk art The Nenets are represented by heroic (syudbabts) and lyrical (khynbats) songs, plot stories (yarabts), legends, fairy tales (vadako, lahnaku) and riddles. Nenets arts and crafts are widely represented by fur mosaics - geometric ornament from pieces of white and black fur and colored cloth, which are used to decorate outerwear, hats and household items. At the everyday level, ornamental wood and bone carvings are common, used to decorate knife handles, smoking pipes, bone parts of reindeer harness, beaters for knocking snow out of fur items, inlay on wood with tin and lead.
Traditional holidays Chukchi are associated with economic cycles: among reindeer - with the autumn and winter slaughter of reindeer, calving, migration of the herd to the summer camp and return from there. The holidays of the coastal Chukchi are close to the Eskimos: in the spring - the holiday of baidara on the occasion of the first trip to sea; in summer there is a festival of goals to mark the end of the seal hunt; in the fall - a sacrifice to the sea, in late autumn - the holiday of Keretkun, the owner of sea animals. The holidays are accompanied by dancing with a tambourine, pantomime, and sacrifices. Chukotka folklore includes cosmogonic myths, historical legends, tales about spirits, animals, and the adventures of shamans. The mythology has common features with other peoples of the North - Koryaks, Itelmens, Eskimos and North American Indians. Traditional musical instruments - jew's harp (khomus), tambourine (yarar), made of wood, bone, whalebone. In addition to ritual dances, improvised entertaining pantomime dances (pichainen), accompanied by throat singing and shouting from the dancers, are common.
The natural phenomena, flora and fauna reflected in Itelmen folklore have a distinctly Kamchatka appearance. The consonantal richness and the presence of glottalized stop sounds of Itelmen folk singing make it very close to the song traditions of the indigenous peoples of the Amur region, Sakhalin, Chukotka and Alaska.
Thus, the cultural diversity and ethnic map of Russia were formed over many centuries under the influence of various factors: the environment, economic activity, migrations, conquests, colonization, government policy, missionaries, etc. The most dramatic changes occurred in the 2nd half of the 20th century under the influence of urbanization and modernization of people’s lifestyles, government targeted programs in the field national education, personnel training, cultural development. Taking into account the ethnocultural factor when organizing socio-cultural activities with military personnel of different nationalities is one of the main conditions for its effectiveness in the Armed Forces of the Russian Federation.
Self-test questions:
What is ethnography of socio-cultural activity?
Name the major historical and ethnographic regions of Russia.
Give ethnographic characteristics The European part of Russia, the Caucasus, Siberia and the Far East.
Give a socio-cultural description of the peoples of Russia (optional).
§ 32. Current status of a specialist in socio-cultural activities in the RF Armed Forces.
Status (from the Latin Status - standing, position) is a concept denoting a person’s position in the system of social and interpersonal relationships and the extent of its influence on other people. The status of a specialist in socio-cultural activities in a military unit is a complex concept, consisting of a set of statuses of various types: legal, economic, ethical and social.
Legal status is a formally legalized place and legally defined rights and responsibilities of a specialist within the framework of official relationships between officials of a military unit. The legal status of the head of a military cultural institution is enshrined in the General Military Regulations of the RF Armed Forces, orders and directives of the Minister of Defense, instructions and orders of the head of the Main Directorate of Internal Affairs of the RF Armed Forces. A change in legal status occurs regardless of the personality of the person himself, but only by changing the relevant legal norms and rules. Legal status has a primary influence on the position of a specialist in socio-cultural activities in the system of legal relations of a military unit.
The economic status of a specialist in socio-cultural activities of a military unit largely depends on the volume, focus, economic profitability of socio-cultural and financial-economic activities carried out as part of the performance of their official duties. It largely depends on such objective conditions as the location of the unit, cultural institutions, its distance from cultural centers, the socio-economic, socio-political situation in the country and region of deployment, the cultural and demographic situation in the garrison. These conditions either help or hinder economic activity head of a military cultural institution. The professional qualities of a specialist (businesslike, entrepreneurial, resourceful) help organize effective economic activity even in unfavorable conditions for its implementation.
The economic status of the head of a military cultural institution consists of two parameters: the level of his real material and financial income and the degree of influence on the financial and economic activities of other people. The real income of a specialist in socio-cultural activities of a military unit is formed from salary and other sources of income from consulting, teaching and creative activities. It should be emphasized that any activity related to the provision of paid cultural and leisure services increases the motivation of a specialist to increase his professional skills and search for new ways to effectively perform regulatory tasks.
The influence of a specialist in the socio-cultural activities of a military unit on the financial and economic activities of other people is possible only within the framework of their involvement in ongoing cultural events. The degree of influence depends on the volume of socio-cultural services provided, the marketing skills of the organizer and the material satisfaction of active participants in the activity (artists, screenwriters, technical staff, etc.).
The ethical (moral) status of a specialist in the socio-cultural activities of a military unit is formed under the influence of two factors: compliance with the moral standards of the content of the activity and the adherence of the organizer himself to the requirements of universal moral values. Socio-cultural activity is by definition moral, but it must be carefully analyzed in each specific case. The organizer of the activity may introduce “innovations” and “improvements”, which, when viewed objectively, can be classified as immoral. This could be, for example, the organization of a gambling and video rental business of a dubious nature (card and billiard games for money, rental of pornographic video products, etc.), staging performances and show programs that raise questions about their moral purity. In this case, the ethical status of the organizer of the activity can be characterized as low.
A huge influence on the ethical status of a specialist in socio-cultural activities is whether this person adheres to universal moral values or not. The immoral (immoral) behavior and thinking of such a person helps to reduce his status in the eyes of his colleagues. They stop trusting him. Colleagues' distrust of an officer often turns into distrust of the entire system of socio-cultural activities.
The social status of a specialist in socio-cultural activities has the following components: social positions, prestige, regulators and mechanisms for realizing the status.
Social positions include gender, age, nationality, education, professional skills, and the socio-psychological personality type of a specialist. Depending on the specific situation in society, social positions tend to strengthen or weaken. At the same time, some social positions are objective in nature, and their perception by other people largely depends on established social and psychological norms (gender, age and nationality). To positions that have a strong subjective dependence on personal qualities, include education and professional skills. At the same time, education is understood both as the presence of a certain level (higher, secondary, etc.) and as the real qualifications of a specialist. The greatest influence on the growth of a specialist’s status is exerted by such social position as professional skill.
An assessment of the current social position of a specialist in socio-cultural activities in a military unit is expressed in such concepts as social prestige (authority). It includes assessments on economic, ethical, social and psychological parameters.
The main social parameter of a specialist’s prestige is the degree of his influence on the activities of other people; psychological parameters are a person’s satisfaction and comfort from realizing his own social significance. It should be emphasized that complete satisfaction and the absence of a self-critical attitude towards oneself and one’s actions can lead to the emergence or development of such negative personality traits as selfishness, selfishness, permissiveness, and rudeness. Healthy dissatisfaction with the results of one’s activities allows a manager to strive to develop his professional skills and enrich his life experience.
Social positions, with the help of status regulators, influence the mechanisms for realizing status. Regulators of the social status of the organizer of socio-cultural activities are social norms, feelings and stereotypes.
Social norms are historically established or established standards of behavior and activity, the observance of which is important for an individual and a group a necessary condition their inclusion in a specific social whole. They have regulatory, selective, systematizing, evaluative, stabilizing and filtering functions.
Most norms are so firmly established in life that we are not aware of them until some kind of violation or misunderstanding is discovered. Operation social norms directly related to social control over people's behavior. For the organizer of socio-cultural activities, the indispensable norm is the presence of a culture of communication, cultural and artistic outlook, and neat appearance.
Social feelings are stable emotional attitudes of people towards the phenomena of reality, reflecting the meaning of these phenomena in connection with the needs and motives of people. This is the highest product of the development of emotional processes in social conditions. Most often, social feelings are expressed in such a generally accepted concept as public opinion, which is an element of mass consciousness and expresses assessments and judgments of social communities, groups and individuals in relation to certain facts, events, phenomena and processes. Public opinion influences the climate in a creative military team and the status of its leader through the direct value judgment of viewers and listeners. It contributes to the formation of directions and style of activity of military cultural institutions and individual masters.
Examples of manifestations of social feelings towards the head of a military cultural institution are applause or shouts addressed to him, the presence of a festive mood or noise during socio-cultural events, expressions of sincere gratitude or indifferent, “protocol” congratulations, etc.
Social stereotypes are schematized, simplified images of any phenomenon of social reality, capturing only some, sometimes unimportant, features of it. For example, many officers are familiar with such examples of “barracks poetry”:
We have three oak trees in our regiment -
Nachkhim, chief of physical education, head of the club.
It's cold January outside,
Vanka the platoon commander is going on vacation.
All covered up, in belts,
He's been in the camps for a whole year.
This is a typical negative example of stereotyping based on job criteria. The basis for the existence of a negative social stereotype is the lack of reliable, verified knowledge from the relevant area of reality and the psychological attitude developed as a result of envy.
The main mechanisms for realizing the social status of the organizer of socio-cultural activities are his rights, responsibilities, influence, opportunities and freedom of activity.
The criteria for assessing the status of a specialist in socio-cultural activities in the RF Armed Forces are:
Professionalism – by the presence of professional skills;
General culture– knowledge and implementation of general cultural values and norms;
Aesthetic selectivity - based on the presence of elements of fashion, taste and harmony in his activities.
Self-test questions:
What is a person's status?
How is the status of a specialist in socio-cultural activities determined in the RF Armed Forces?
Describe the main social positions of the current status of a specialist in socio-cultural activities in the RF Armed Forces.
How does professional skill affect the social status of a specialist in socio-cultural activities in the RF Armed Forces?
Describe the main criteria for assessing the status of a specialist in socio-cultural activities in the RF Armed Forces.
For a broader understanding of the essence of the rehabilitation process in relation to persons with disabilities, a specific, meaningful interpretation of such a concept as “socio-cultural environment” is of fundamental importance.
In sociological analysis, the environment is considered primarily as a “social environment.” In modern sociology, the social environment is considered as external conditions in a special system of connections between people, that is, when the system of connections in society characterizes the interaction between people and social groups, during which certain social relations arise. As a result of this interaction, changes and transformations of reality occur. Here you can operate with the formula “person – environmental conditions”, which will allow you to see in the phenomenon an interaction that expresses the impact of one on the other and determines the perception of such an impact. The latter should manifest itself in social transformations that manifest a person’s individuality in his interaction with the environment.
The concept of “environment” entered the cultural sciences relatively recently. In Russian science, the theory of “environment” has been developed. The cultural term “environment” means a stable set of material and personal elements with which a social subject interacts (individual, group, class, society) and which influence his activities in creating and mastering spiritual values and benefits, his spiritual needs, interests and value orientations in the field of culture. This definition made it possible to introduce a clarifying concept of “sociocultural environment.” Consequently, the sociocultural environment is understood as a certain “environment-personality” system, since in it there is an internal connection between conditions and activities, their interpenetration. Thus, the socio-cultural environment acts as a sphere for the implementation of social functions of culture aimed at the spiritual formation and socialization of the individual, including the disabled. At the same time, socialization is understood as the process of uniting people, and cultural orientation acts as the content of the association.
The material side of the socio-cultural environment should be considered as a set of certain cultural values in a given society and their use in the activities of a disabled person included in this environment. Consequently, this should also include the nature of the organization and the mechanism of functioning of spiritual values. The list of universal human values of the environment also includes tolerance as a necessary component as a principle for building relationships between members of society. And how the value model is formulated tolerant attitude between subjects, the level of performance depends.
The personal side of the environment is the people surrounding the personality, influencing (positively or negatively) its formation, the development of spiritual needs, interests, tastes, and value orientations. The categories “sociocultural environment” and “personality” are closely related to each other. A person does not exist without an environment, but the concept of a socio-cultural environment becomes meaningless if we do not correlate it with a person.
The personal sphere of the sociocultural environment is differentiated depending on the following aspects: firstly, on the levels of influence of the environment on the individual. In this aspect, a distinction is made between macroenvironment and microenvironment. The “macroenvironment” refers to society itself and social groups, information space. By “microenvironment” we mean the environment of the immediate environment. The "macroenvironment" consists of many "microenvironments". Cultural interaction between the macroenvironment and the individual is carried out through interpersonal contacts and acquired individual experience. Namely, the uniqueness of different levels of the sociocultural environment largely determines the formation of general (typical) and special (individual) personality traits of a disabled person.
The individual, group consciousness, views, ideas, feelings, established traditions, culture of speech communication and mass media constitute the spiritual atmosphere and reflect essential characteristics relationships (disabled person with environment, environment with disabled person). Both the objective environment and the spiritual atmosphere represent the immediate environment of the individual, determining his value orientations and attitudes, norms and rules of behavior in a particular everyday community.
The immediate environment is heterogeneous and may include both positive and negative elements.
It is generally accepted that the cultural environment is created by professional cultural workers, artists, designers, other representatives of the creative intelligentsia, specialized state and non-state organizations and services. They are designed to present a person with a certain cultural space that he inhabits. At the same time, the very concept of “Inhabiting a cultural space” seems to contain recognition of the need for an active, active principle. However, in practice, such “settlement”, as a rule, comes down to the development of ideas and projects proposed by someone from the outside and implemented.
The environment is essentially a testing ground within which socio-cultural rehabilitation methods and technologies of various purposes and indications are tested and mastered.
The informational-cognitive, educational component characterizes the acquisition by persons with disabilities of knowledge and concepts about the real phenomena of the world around them, their awareness of the need for continuous communication with their immediate environment, the use of knowledge in practical activities in order to transform their lifestyle.
The leisure and creative component is associated with the organization of leisure to satisfy the spiritual and physical needs of persons with social disabilities, providing them with books, magazines, newspapers, special television and radio programs, games; assistance in organizing recreational activities, physical education and sports, visiting theaters, exhibitions, various cultural, educational, sports and other events.
The cementing basis for the preservation and development of a viable socio-cultural environment is, as practice shows, the presence in the existing infrastructure of a city or region of traditional and modern non-traditional leisure centers that are quite popular among residents, in which the predominant factor is the leisure activity of the population, independent cultural creativity.
By creating new conditions for the functioning of the sociocultural environment, these changes put forward new requirements both for the forms of organizing cultural and leisure activities, and for the goals and methods of their implementation.
The socio-cultural environment is a specific social space directly given to each person, through which he is actively involved in the cultural connections of society. This is a set of various conditions of his life and social behavior, this is his random contacts and deep interactions with other people, this is a specific natural, material and objective environment, presented as a part of society open to interaction.
The importance of the socio-cultural environment in the process of dynamic development of social relations is quite great, since it creates conditions for the formation of the intellectual potential of the nation and largely determines the spiritual life of society.
But at the theoretical level, the essence of the socio-cultural environment as social phenomenon is not fully realized, which is an obstacle to its formation as a sociological category and the creation of additional opportunities for the development of various types and forms of socio-cultural activity within the boundaries of the socio-cultural environment.
The first attempts at theoretical analysis of the social environment can be dated back to the beginning of 1980, when in the works of M.V. Lashina and a number of other scientists investigated the essence of this category.
For better understanding specifics of the category “Socio-cultural environment”, which includes various phenomena of social and cultural life, domestic sociologists and cultural scientists propose to consider the initial concepts of “society” and “culture” as relatively autonomous realities, assigning to them the meaning that is traditional for them and reflects the effective and procedural aspects of these phenomena.
Society can be represented in the form of basic social subjects (social groups, organizations), which are universal, typical and stable social formations, as well as social interactions and relationships.
Culture, as a result of human activity, is a set of traditions, norms, values, meanings, ideas, sign systems that are characteristic of a social community and perform the functions of social orientation, ensuring social affiliation and individual self-determination.
“Social” and “cultural” are closely intertwined, since in any social phenomenon There is always a person present as a bearer of social roles and cultural values. It is man who is the primary “atom” of social structures, relationships and cultural processes.
The essence of society is to make a person social, providing him with a set of necessary roles and technologies for their implementation. The essence of culture is to promote the formation of a spiritually holistic personality, overcoming its social-role limitations in the process of value-oriented activity.
By analyzing the differences between cultural and social systems, we can view them not simply as separate and interdependent, but also as interpenetrating systems. Certain aspects of the cultural sphere cannot be understood without reference to the facts of the social sphere, and conversely, the social sphere cannot be analyzed without its correlation to culture. In this sense, cultural and social systems cannot be separated from each other, although they can be interpreted as analytically independent .
