Methods for correcting thinking in children. Correctional work with children with severe developmental disorders. Helping each other out

Folk art is the collective creativity of the masses. In Russian science, it is sometimes denoted by other terms: folk poetic creativity, folk poetry, oral poetic creativity; folklore, oral literature. All these designations indicate that this is an art created by the mass of the people.

Similar terms exist among other peoples: in German science, the term Volksdichtung (folk poetry, folk art) is adopted, among the French and Italians - tra dition populaire, le tradizioni popolari (folk tradition, custom).

Along with this, there is an international term folklore. In translation, it means: the wisdom of the people, the knowledge of the people. This international term has come into wide use since the middle of the 19th century.

Abroad, it is understood in the broad sense of the word, and the concept of "folklore" includes the whole complex of the spiritual and material culture of the people. In Russian science, the understanding of folklore as a term denoting folk poetic creativity was entrenched. Sometimes it is attributed to folk music and then they say: musical folklore. Dance art, as a rule, is called folk choreography; folk art products are often referred to as folk art.

The application of the term "folklore" to folk poetry is quite fair. The poetic creativity of the working masses is indeed not only a form of art, but also contains elements of folk beliefs and customs. The majestic epic, heartfelt lyrics, folk drama were created by the power of the collective creativity of the people. This does not mean that these works had to be composed and performed by several people at once. Often they were sung or said by one person. But each such work, regardless of whether it was created by one person or several people, expressed and generalized the collective poetic creativity of the masses that had accumulated over the centuries, based on the traditions of collective folk art, and existed and developed within its framework. Folklore clearly reflected the mighty creative forces of the working people, the conviction in the final victory over hostile forces. Folk art provides us with valuable material for understanding the role of the people in public life, in the history of culture and art.

In Russian science, the term "folklore" became widespread after the Great October Socialist Revolution. At the same time, the science of folk art was called folkloristics.

Most schools and trends in literary criticism and folklore of the XIX century. studied the oral collective creativity of the people, but their essence was understood by them differently. Researchers who stood on idealistic positions spoke of him as a manifestation of some kind of mystical folk spirit that has existed from eternity and is only dressed in different national clothes. This was opposed by the materialistic interpretation of collective creativity as the art of the masses, created in certain conditions of social life. This problem came to the fore with particular force during periods of intensification of the class struggle; this was the case, in particular, in the second half of the 19th and early 20th centuries. At that time, the ideologists of the reactionary bourgeoisie launched a furious attack on the democratic principles of the study of art, declaring the people an inert mass incapable of creative activity. Fr. Nietzsche, for example, called it superstition the recognition that the people are capable of creating the values ​​of culture and art.

The theory, according to which folklore was considered exclusively as the creation of the ruling, exploiting classes, deleted the activities of the people from the history of culture. Thus, in the works of many bourgeois researchers, the assertion about the borrowing of folklore began to sound like an assertion about the migration of culture in the ruling classes, from where supposedly works of art, customs, and cultural skills descend into the people. According to this concept, the “inert mass”, incapable of creative activity, adopts the “fashion” from the “higher” circles, when it is already out of use there. One of the most striking expressions of the theory of "reduced culture" was found in the works of the German scientist Hans Naumann, written after the First World War.

Such reactionary theories are still in circulation among a certain section of bourgeois scholars who assert that the working people are not capable of creativity, that attempts to consider folk culture, folk art as something independent, and not as a flawed reflection of the culture of the ruling classes, are "unscientific".

These views are widely used in the reactionary circles of folklorists in the capitalist countries, but at the same time they have aroused and continue to arouse the protest of progressive figures of culture and science who oppose this concept of the creative futility of the people. Thus, the communist press of the capitalist countries published a number of articles on the great role of the people in the creation and development of culture. The struggle against reactionary concepts on this issue, the correct elucidation of the relationship between collective and individual creativity, amateur and professional art is of great importance for understanding the patterns of development of artistic creativity in the past and present.

Direct connection, the continuity of creative acts, the commonality of figurative and stylistic forms is not an external sign of folklore, but its essential quality, imprinting the mass impersonal artistic content of folklore. He is directly popular. Folklore can only be called a work that has acquired content and form in the process of life among the people - either as a result of multiple acts of retelling, singing, or as a result of a single creative act, but one that is based on the artistic experience belonging to the people. The style and images of works are always stamped with the spiritual world of the masses, and for this reason they say that folklore has no author, that its author is the people.

Consideration of the specifics of folklore allows us to understand the correlation of its features, which have been repeatedly named by different researchers. Some signs are main, others are derivative, minor, some are essential, others are insignificant. In the scientific literature, in particular, they often point to the multiplicity of options, variability, anonymity, traditionalism, orality and unprofessionalism.

Variation, considered separately from other properties of folklore, cannot be recognized as an essential feature that distinguishes folklore from literature. After all, there is variability in literature: there are different author's editions of the work. However, in folklore, variability is the result of joint creativity emanating from different people, and in literature it only testifies to the creative history of a work, to the intensive activity of the author, who is looking for the best realization of an artistic intention. True, in medieval literature there was such a variability of the work, which is similar to folklore, there were lists - editions and versions of handwritten works, but this only indicates that folklore historically preceded literature and influenced its early forms. However, in essence, the variability of medieval written works is different from folklore. He wrote about it in the 19th century. O. F. Miller in the preface to the monograph "Ilya Muromets and the heroism of Kiev." This is how he described the difference. Noting that “the absence of personal creativity, which distinguishes the oral literature of the people, for a long time to a certain extent continues to manifest itself in writing itself,” the scientist wrote further: the lists may turn out to be with arbitrary “reductions and distributions”, “growths”. O. F. Miller saw an important difference between lists and folklore variants (“retellings”) in the fact that oral works were preserved “for many centuries simply by memory”, but not by the memory of an individual or even several individuals: they were preserved by “common labor, participation of the common memory. “On the contrary, in a corner, the scribes were doing their work to themselves, there was no one to stop, to advise: look, here you missed it, there you didn’t understand and copied it incorrectly, and there, in a hurry, described yourself (...) The charter endures everything!” exclaimed O. F. Miller. “In the matter of retelling the works of folk literature,” he continued, “on the contrary, publicity prevailed ... If a folk singer had tried to give too much scope to his own compositions, they would immediately have sounded like a blatant discord for the public ear. Only gradually, little by little, could the retellings of songs constantly checked by the common people's court be penetrated by that changing principle that makes them variants. If the handwritten version is the fruit of creativity and changes introduced into the work by the scribe, then the folk version is the result of creativity and changes accepted and approved by the masses. This is where the difference comes from. It in its own way reveals the difference between popular and author's creativity. It is impossible to identify folklore and written-book variation. Variation then becomes a sign that essentially distinguishes folklore from literature, when one takes into account what it accompanies. In folklore, variability reveals the process of mass collective creativity, this is its originality and difference from the variation of a book work according to lists and author's editions.

The concept of anonymity does not apply to folklore. Anonymity means that the poetic work had a creator-author, but his name remained unknown for some reason. Folklore works, although they owe their initial origin to one person, but, being passed from person to person, as a result of numerous changes and additions, they acquired a form corresponding to the environment of existence. In this case, it is impossible to say that there was an author who created it. The work has absorbed the work of many people, and none of them, taken separately, can be recognized as the author. We must also take into account the fact that even the creative act of the first person in folklore is not free from existing poetic traditions. Emerging works always depend on previous creativity: historical songs have taken on the properties of epics; lyrical songs owe much to lamentations and wedding songs; ballads of the XIV-XVI centuries. influenced military-historical and social songs of the 17th-19th centuries; ditties have learned the properties of lyrical lingering and dance songs; the anecdote has absorbed the features of everyday satirical tales, etc.

Tradition, as follows from what has been said, is indeed an essential feature that distinguishes folklore from literature, but, as in considering variability, one must find out and take into account what traditionalism is a manifestation of. Literature is also traditional in its own way: outside the poetic tradition, the development of literature is unthinkable. V. G. Belinsky wrote: “Pushkin's muse was nourished and brought up by the works of previous poets. Let's say more: she took them into herself as her rightful property, and returned them to the world in a new, transformed form. One can say and prove that without Derzhavin, Zhukovsky and Batyushkov there would be no Pushkin, that he was their student; but it cannot be said, still less proved, that he borrowed anything from his teachers and models.

Subordination to common traditions, found in the work of the most gifted singers, storytellers, storytellers, means that each of them shared a common mass view of reality, merged their artistic views and concepts with generally accepted ones. In literature, the artist also represents his people, environment, class, but in an individual, unique manifestation. This, in particular, can explain the peculiarity of the literary tradition that it prevents the direct use of the labor of predecessors. Thus, the traditional nature of creativity in folklore can be considered as an expression of folk, mass-collective foundations of oral creativity. Tradition correlates with the collectivity of folklore as a phenomenon and essence.

Orality is considered by many researchers to be the most significant feature that distinguishes the art of the word in folklore from written creativity. The difference is really very important, but oral form can hardly be considered a sign that always makes it possible to accurately distinguish folklore from literature, if we do not take into account what the oral form accompanies in artistic creativity. In terms of literature,

It remains to be noted that the unprofessionalism of the art of folk singers and storytellers is not a feature of folklore to such an extent that, relying solely on it, to distinguish it from professional art.

So what is folklore as the art of the word? This is a collection of oral works of art created by the people, the mass of working people, as a result of their joint collective labor. The generic feature that folklore and literature have in common must be recognized as belonging to artistic creativity, and the specific feature that distinguishes folklore from literature is the process of oral mass, non-professional creativity based on traditions. The traditional collective oral art of the people is what folklore is in the shortest definition.

If we talk about the functional content of folk art, then it is necessary to highlight its most basic functions, such as: aesthetic, communicative, cumulative with pronounced elements of transformation into modern art forms, educational, cognitive, etc.

Creative activity- the creative activity of a person in the field of science, literature, art, as a result of which a new work is created.

Folklore(from English Folklore - "folk wisdom") – folk (more often oral) creativity, the creative collective activity of people embodied in a work of art, which is a specific reflection of their life, ideals, events.

One of the important trends that can be clearly seen in the development of artistic creativity over many centuries is the ever-increasing strength of the personal authorial principle. Despite the fact that the individual beginning is inherent in any creativity, in folklore it is strongly muffled. Folklore is an expression of folk art, artistic and collective creative activity of the people, reflecting their life, views, ideals, created by the people themselves and existing among the masses. It can be poetry, music, dance, fine and applied arts. As a rule, folklore works were spread through language, oral presentation, which became traditional for this type of art. Most often, folklore is presented in the form of songs, epics, legends that reflect the course of people's lives: work and rest, sorrow and joy, individual events and historical ones, rituals, etc. Of course, folklore works had their own authors, however, their establishment is difficult today. The roots of folklore are in history, in pagan beliefs (Ancient Russia). After Christianity was adopted in Russia, the texts of the works were changed, but the ancient melodic form was preserved. The songs traditionally reflected the events of the life of people and society, sang the feats and outstanding personalities.

In addition to songs, various legends and fairy tales were also popular. They were divided into magical (where among the objects there are magical objects: flying carpets, self-made tablecloths, walking boots, testifying to pagan witchcraft and people's dream of creating things that alleviate the hardships of life) and satirical, which had a moralizing character, describing modern conflicts, revealing political contradictions (this type of creativity was subsequently widely used by professional writers).

The individual beginning in ancient culture was mainly reflected in performance, the authors of folklore works, as a rule, remained unknown. This, according to the researchers, was due to the lack of desire for self-expression by people through art, the subjective author's vision did not prevail in culture. And the public, collective acquired a sacred meaning, the artist had to express the general ideas, giving them an ideal representation. The dominance of mythology and religious consciousness led the ancient author to the conviction that the true creator of the work is the social spiritual principle or God.

Being a synthetic phenomenon, since ancient times, art has been perceived as a means of education that can also give a person a specific spiritual pleasure that is beyond his capabilities and nature.

The author's personal self-awareness is gradually formed as a result of the development of collective labor activity, the separation of one's "I" from the collective "We", the emergence and formation of philosophy, the formation of morality and social relations, the strengthening of statehood, etc.

The personal beginning reached its maximum in the modern development of art, in which the light radiation of the author's personality gives a unique originality to a work of art. In this regard, the personality of the author, the strength of his talent, the scale of thinking, the ability to penetrate deeply into the essence of the processes taking place in society, as well as knowledge of the inner world of a person, are becoming increasingly important. The most important property of the author today is the ability to say something new, unknown to other people or not yet formulated by them, to reveal the new essence of this or that phenomenon.

The talent of true artistic creativity lies in understanding the dialectics of the development of human society, with the awareness of those lofty goals in the name of which a person is called to live. Knowledge of the present is associated with the author's understanding of the prospects for the future, with the eternal desire to know the essence.

The trend towards an increase in the author's principle manifested itself pictorially already in the early stages of the development of cinema and television. One of the brightest representatives of that time was Charlie Spencer Chaplin, actor, film director, screenwriter, film producer, film composer, Oscar winner, founder of the United Artists film studio. Chaplin's works are a kind of mirror reflecting his multifaceted talent; he was one of the most creatively versatile and influential people of the silent film period.

The development of auteur cinema in our time is becoming more and more intense. Creativity and creation are more and more subject to the author's intention, and screen works reflect the individuality of their authors.

In the author's cinematography, the creativity of the author and the director becomes a single process, where the birth of an idea, writing a script, shooting, are carried out under a single opinion. Such sole authorship makes it possible to convey to the viewer the creative view of the creator of the work, his view of the world, his vision of the phenomena of reality as accurately and fully as possible.

The most important feature of the author-director is the ability to create a future film in his imagination, freely and easily operate with sound-visual images. The author of the film must keep an imaginary picture throughout the entire creative process. The director must feel the whole rhythm of the picture, its general classical and rhythmic design, emotional mood, atmosphere, etc.

Directors are one of the first and most widespread representatives of screen culture today.

screen culture.

Screen culture- a type of mass culture, the works of which are reproduced on a special technical means - the screen and are not perceived outside it. Types of screen culture: cinema, television, video, computer images, the Internet, etc.

Screen- (from French еcran - screen) - the surface on which the image is projected, as well as a device designed to reproduce the image.

Cinema- the sphere of human activity, which initially consists in creating moving images with the help of technical devices, subsequently accompanied by sound.

Internet- a system of worldwide association of computer systems and networks that form a specific information and technical space, which has the widest distribution and application.

Multimedia- the interaction of audiovisual effects under the control of interactive software with the direct use of technical, electronic and software tools that reproduce images in a digital representation is extremely widespread and applicable.

The emergence of screen culture at the end of the 19th century was initially associated only with cinema, which could only arise at a certain level of cultural and technological development of civilization. The most important feature of cinema, in addition to technical conditionality, is its focus on a wide audience, mass impact. The connection of social, technical, cultural conditions is the main quality of the emerging cinema. Cinematography was a new form of reality, different from theatrical performances. At the same time, the realities of cinema contributed to the transformation of the realities of reality, imperceptibly introducing fictitious, artificial, virtual images into it.

Thus, the birth of cinema, and subsequently screen culture, led to the emergence of a new type of communicative interaction, new opportunities for influencing mass and individual consciousness.

The next great achievement of screen culture after cinema was television, which has greater communicative capabilities, among which we single out: almost ubiquitous distribution, temporal availability, comfortable conditions for perception, reporting and documentary, scale of coverage of interests and preferences, differentiation. That is, one can observe the combination of many media and culture in one phenomenon.

A continuation of the development of screen culture can be recognized as the emergence and steady spread of computer culture, which combines elements of all types of both screen and other cultures. Their indestructible mutual influence and interaction takes place, with a rather powerful influence of a society that is practically unlimited neither in space nor in time. Participants in this type of communicative interaction can simultaneously assume different roles (spectator, listener, moderator, director, etc., that is, an active communicator), which definitely entails a rather strong emotional impact on a person. There are quite fair concerns about the benefits of such involvement in the virtual world, the emergence of addiction, emotional overload, which can lead to personality disorders. In fairness, it should be noted that the first films also made a strong impression on the audience, influenced their emotional sphere. This phenomenon persists in a slightly modified form until today. After all, it is precisely the appeal to the emotional sphere that is in many respects the goal and calling of any art.

It is safe to assume that the continued existence of screen culture will be accompanied by the inevitable interaction of its elements. Objects and works of screen culture, which are essentially simulacra (that is, copies without the original), artifacts, with the help of modern digital means, receive an almost perfect resolution, in which the audience believes almost unlimitedly. But, at the same time, this audience is able to create their own virtual worlds and act as one of the most important elements of universal communication. And in this mosaic interweaving of the links of screen culture lies the essence of a new communication paradigm that is being introduced into traditional forms of interaction. However, one should constantly take into account the factor of distorted reality, the mythologization of the objects of this culture, totally penetrating into the real dimension, manipulating the creation of people. The altered reality transforms the subconscious, deforming the individual and society. These are real questions to which civilization must find adequate answers.

What is the role of the producer in this situation. What are its goals? As an entrepreneur, under whose leadership significant labor resources and teams carry out their creative and production activities, he must take care of the commercial benefits of the projects being created. This is possible if the product is sold on the market with maximum efficiency. But the producer's activity does not end with the completion of production, but continues at the post-production stage, the essence of which, among other things, is the manipulation of public and private consciousness in order to most profitably implement the project. The producer must also take into account universal human values ​​in his activities, be responsible for the cultural impact on millions of viewers, for their moral and spiritual development. Thus, sometimes the producer faces intractable tasks, truly world problems. And on how, by what means, with what results the producer will overcome these difficulties, his further activity, and the work of the team, and the production sector, and the economy, politics, and culture as a whole largely depend. Therefore, in addition to thorough knowledge in the field of film production, film business, the producer must have a high level of human culture and be responsible for the results of his own work and the activities of the team. Society and the state, as a spokesman for public interests, should be primarily interested in this.

Amateur creativity throughout the history of its existence has always been not only a means of education, but also a means of artistic and creative development of the individual. The global socio-cultural changes taking place in Russian society are increasingly raising the question of the place and significance of culture in our lives.

The end of the 20th century, despite the contradictions and mistakes, led to the search for moral guidelines, the desire to revive national spiritual values. All this contributed to an increased interest in folk art culture, including the amateur art of the people.

The clarification of the terminological concepts of amateur creativity, the definition of its place in the activities of socio-cultural institutions, the consideration of the main socio-pedagogical problems have long been the subject of confusion and inconsistency. The study of publications devoted to amateur art has shown that there is no precise and unified definition of the concepts and concepts of this complex phenomenon and related definitions, such as "culture", "artistic culture", "folk art", "folk art" and etc.

Meanwhile, the issues of terminology are of great methodological importance, since terminological disorder has a negative effect on the development of scientific problems in the course of their research. Although the terms do not reveal the nature of the phenomena indicated by them, but successfully found terminological formations do not simply denote certain concepts, but can acquire the value of factors stimulating scientific thought, prompting a deeper development of the problem itself.

The most broad and capacious is the concept of "culture". Not a single definition had as many interpretations as fell to the lot of "culture". Special studies of culture appeared in the sixties, and the widest scope was outlined in the seventies, and up to the present day, attempts by various authors to give a new definition to this phenomenon have not dried up.

The problem of culture is studied by many sciences, ranging from cultural anthropology to cybernetics, but so far there is no such universal definition that would satisfy researchers of various branches of knowledge.

In the context of our problem, we can imagine culture how a continuously developing creative process and synthesis of human-created knowledge, spiritual values, norms that are expressed in language, customs and traditions, beliefs and worldview.

Summarizing various concepts in culture, researchers consider four main approaches: axiological, activity, functional and semiotic, it should be noted that all of them are connected with the philosophical, cultural and logical analysis of this phenomenon.

LI. Mikhailova, considering these approaches in relation to folk art culture, notes that they “represent a study of different ways of functioning of culture in society. All of them reflect the sequence of cultural-creative activity, which includes the creative processing of information, its accumulation, the embodiment of new ideas, knowledge, values, norms, samples into material forms, the definition of methods for their translation by subjects and its transformation into personal experience, interpretation in accordance with their system of values".

The place of artistic culture in the system of culture in general is ambiguously determined by modern science, and even more ambiguous is the question of the place of folk art culture in the system of artistic culture. Among the many concepts and theories put forward by modern researchers, there is no consensus even in the interpretation of the concept of "folk art culture". T.N. Baklanova, V.E. Gusev,

A.S. Kargin note the diversity of approaches and methods in the study of folk art culture from historical, socio-psychological, cultural, ethnographic, art criticism, sociological, philological, religious and other positions.

It is not surprising that specialists from various branches of knowledge identify folk art culture with folklore, folk art, folk art, amateur art, and amateur art. The fundamental principles of the formation of the concept of "folk art culture" T.I. Baklanova considers the principles of ethnicity, integrity, dual unity of ethno-artistic consciousness and ethno-artistic activity, historical and socio-cultural dynamics, artistic and aesthetic identity and an interdisciplinary approach.

Giving a definition of folk art culture, V.E. Gusev writes: “Folk art culture is not limited to folklore and folk decorative art in their traditional sense as forms of collective canonical art. The concept of folk art culture is integrated various forms of creative activity of the people, its various social strata and groups. In the process of its historical development, it increasingly includes various types of mass amateur art activities. To the specific features of folk art culture he relates: a) direct and indirect connection with the labor activity of the masses; b) direct connection with the natural environment and social practice, with social and family life, way of life; c) the inseparable connection between the forms of material and spiritual activity of people; d) the unity of mass and personal in the collective creative process; e) tradition passed down from generation to generation; f) ethnic identity; g) the presence of diverse regional types and local variants; h) creation of specific types, types and genres of folk art that differ from professional art; i) along with the preservation and promotion of folk art, the development of new forms of folk art culture.

A.S. Kargin, based on the theoretical findings of BE. Gusev, considers folk art culture "as an independent historically determined type of culture, which has its own forms, mechanisms, social stratification, and so on" . The main structural formations of modern folk art culture the scientist considers oral-poetic and musical-dramatic folklore, amateur art as socially organized creativity, neo-folklore as non-formalized everyday leisure creativity, folklorism or secondary, stage folklore, as well as arts and crafts, arts and crafts and visual folklore.

These structural formations basically coincide with those proposed earlier by V.E. Goose division into interconnected levels of types of artistic creativity. He considers the main formative type of artistic folk culture artistic activity, which is associated with labor activity, folk calendar rituals, community-family relations and rituals. Ddrome artistic activity is folk art, which permeates all types and forms of artistic creativity. In artistic activity V.E. Gusev includes four types of artistic creativity: folk arts and crafts and folk art, ritual and non-ritual folklore (verbal, musical, song, choreographic, play, drama and folklore theater), mass amateur art, as well as individual artistic amateurism.

There is no fundamental difference in the structural formations of folk art culture in T.N. Baklanova, who believes that there is no exhaustive formulation of the concept of "folk art culture", and the development of this term is a promising scientific task.

The lack of a clear conceptual definition of "folk art culture", its identification with folk art leads to terminological confusion not only in cultural studies, but also in art criticism. In reference books, the term "folk art" was identified with

"folk art". It is enough to compare the explanation of these terms in various encyclopedic reference books to be convinced of this. “Folk art (folk art, folklore) is the artistic collective creative activity of the working people, reflecting their life, views, ideals; poetry (legends, songs), music, theater (dramas, satirical plays), dance, architecture, fine and arts and crafts created by the people and existing among the masses of the people, ”the Soviet Encyclopedic Dictionary gives such an explanation. Folk art, folk art, artistic creative activity, according to some scientists, also exist in the form of amateur art, in particular architecture, fine and decorative arts created and existing among the masses: artistically processed tools, buildings and household utensils , clothes and fabrics, toys, popular prints and so on. It is important to note that here we already meet the concept of "amateur art", and unites these concepts "working people" as a creator of folk art.

The genesis, history and functions of folk art or folk art are determined by a person's labor activity. In most works of folk art, a direct or indirect connection with labor activity is visible. First of all, this can be noted in folk wooden architecture, decorative decoration of residential interiors, decoration of outbuildings, aestheticization of production tools and household items, in the production and decoration of vehicles (carts, wagons, sledges, arcs, harness, and so on). Women's labor (spinning, weaving, lace-making, etc.) is also filled with artistic activity. The artistic principle was most clearly manifested in folk everyday, festive and ritual clothing.

The aesthetic ideals of folk art were determined mentality, psychology and morality of a working person. The mentality and folk art consciousness of various social and ethnic groups of the population is revealed in the ideas and images of the material and spiritual values ​​of folk art.

feminine culture. The natural-philosophical worldview of the Russian people, based on trust, in which paganism and Christianity united, created mythological images expressing the moral, philosophical and aesthetic view of man on nature and himself. At the same time, it must be emphasized that in the entire system of Russian folk art culture, utilitarianism, spirituality and pragmatism religious rites and customs.

The myth and religion of the ancient Slavs is not only a form of perception of the universe, nature, which was both a “home” and a “workshop” for a person. They absorbed the ancient monotheism of Slavic beliefs, their solar pantheon and the system of Christian ideas. The rites consecrated by the centuries-old tradition, as a conditionally symbolic action, formalized the most important events of social and family life, the most significant stages of calendar cycles and economic activity. They were formed on the basis of customs and clearly conveyed the attitude of people to nature and to each other. Rituals and ceremonies were an integral part of the holidays associated with mythical ideas or beliefs of people. Ways of understanding the world and the place of man in nature and relationships with other people were reflected not only in the mythological, but also in the artistic consciousness of the people, and affected their way of life. For all the fullness of the consciousness of ancient Russian man with mythological ideas, practical thinking and practical experience remained primary, because by his activity man strove for harmony with nature, of which he was a part. Over a long historical period, Slavic mythology influenced rituals and rituals, folk art. mythological consciousness- this is the historically established state of human consciousness in its direct practical refraction.

The mythology of the Russian people is an integral part of its life, rituals and rituals, customs and beliefs, various genres of folklore, folk art. The study of Slavic mythology, its systematization began with the works of N.M. Karamzin, AS. Kaisarova, GA. Glinka, V.I. Dahl, N.I. Kostomarova, A.N. Afanasiev in the 19th century. Despite attempts in the Soviet

time to consign mythology and folklore to oblivion, for they were identified with religion, D.K. Zelenin, V.N. Toporov, V.Ya. Propp and B.A. Rybakov, as well as other researchers, developed methods for studying mythology, revealed the cultural and historical basis of mythological thinking, and published works summarizing such a large amount of material.

Of course, Slavic mythology, worldview, rituals and rituals, folk art are genetically linked with the archetypal elements of other ethnic groups with which the Slavs came into contact at various levels. The assimilation of these elements at certain historical periods among different peoples contributed to the formation of the national culture of each ethnic group.

In the artistic and creative activity of the ancient Slavs, one can see the value-cognitive syncretism of the people's consciousness, in which, in a mythological context, the religious and aesthetic development of the world were combined.

M.S. Kagan argues that “in a pre-class society, artistic creation was the only form of practical-spiritual activity in which religious creation could be embodied. And this means that it was not religion that gave rise to art, but, on the contrary, religious consciousness and religious rites arose on the basis and in the process of artistic and imaginative exploration of the world by man".

test questions

1. What is folk art culture?

2. What are the features of folk art culture?

3. What are the main types of artistic creativity.

1. Mikhailova L.I. Sociodynamics of folk art culture: determinants, trends, patterns: Monograph. M., 1999.

2. Gusev V.E. Russian folk art culture (theoretical essay). SPb., 1993.

3. Kargin A.S. Folk art culture. M, 1997.

4. Soviet encyclopedic dictionary. M., 1986.

5. Kagan M.S. Aesthetics as a philosophical science. SPb., 1997

3.2. Essence, basic concepts and functions of amateur creativity

The origins of amateur artistic creativity and art lie in labor activity. More G.V. Plekhanov wrote in "Letters without an Address" that "... we will understand absolutely nothing in the history of primitive art if we are not imbued with the idea that labor is older than art, and that, in general, a person first looks at objects and phenomena from a utilitarian point of view and only later becomes in his relation to them to an aesthetic point of view. Conscious spiritual and practical activity in the creation of tools and household items turns into artistic creativity associated with practical activities, the products of which become works of art, which are utilitarian artistic products. Works of art perform various functions and become a means of knowing reality, a means of transmitting and expressing social feelings developing in a person. It was the practical activity of people that formed aesthetic feelings and artistic activity, as a result of which original works of primitive art were created. Among them are ornamental decorations of tools and household items, tattoos, hunting and other types of dances, theatrical performances, musical rhythms and melodies, figurines, drawings and picturesque images of pictographic writing. Thus, the polyfunctionality of primitive artistic creativity rested on the internal unity and syncretism of practical and spiritual activity.

The culturological approach to the study of the main stages in the development of folk art culture (pagan, archaic and urban) and various forms of artistic creativity, which emerged in the 90s of the XX century, indicates an integrated approach and a systematic analysis of all the structural elements of culture.

Recently, the concept of "folk art" has begun to be used as equivalent to the concept of "artistic

self-activity”, displacing it. and this is not entirely true. The essence of amateur artistic creativity is most fully considered in the work of E.I. Smirnova, who notes that as a socio-cultural phenomenon, amateur art represents a historically new form of culture functioning. The specificity of its functions, in particular, is related to the fact that it acts as a means of overcoming the alienation of people from their universal abilities, due to the division of labor. This determines the socio-pedagogical nature of amateur art as a phenomenon of self-realization and self-development of the subject, through artistic activity that complements his activity as the subject of other, non-artistic social roles. At the same time, artistic and creative activity in any way develops cognitive, communicative, creative and other potentials of both a single individual and groups - participants in amateur art activities. However, depending on the orientation of the individual, the degree of development of the artistic and non-artistic roles of the subject, the socio-pedagogical effect of amateur performances can be different.

Of no small importance for considering the essence of amateur creativity is the study of its functions.

The word function in translation means a role, a range of activities or the main purpose of something. There are different approaches to defining the functions of amateur creativity. L.N. Stolović identifies a number of main functions that are important for all types of artistic activity, while the main functions combine the meaning of several aspects of art. So, for example, the cognitive-evaluative function combines reflective, evaluative and psychological aspects; social and educational function integrates social, educational and reflective aspects; the social and communicative function connected the social, symbolic and creative aspects, and the creative and educational function determines the psychological, playful and creative aspects.

Amateur art has a different number of functions. They often talk about educational, information and educational, creative, communicative, recreational, compensatory functions, but it is important that recently, along with unsystematized types of functions like the above, there has been a desire for a clearer methodological approach to determining the functions of a particular social phenomenon ( process, institution).

E.I. Smirnova speaks of three large groups of functions, "... moreover, existing not separately, not located, but in the form of a certain unity, compaction, the effect of" imposing "one functions on others when they act in their mutual determinism" . She conditionally calls the first group of functions "artistic", the second "leisure", the third "socio-pedagogical". At the same time, he notes that the weakening of socio-pedagogical functions can "throw" the phenomenon into the sphere of non-developing, and even socially negative leisure. When the functions of leisure are underestimated, the phenomenon is “carried out” into the sphere of work or approaches it, giving rise to contradictions: in some cases between professions, in others (when activity loses signs of rest) between the system of corresponding human needs and the inability to satisfy them in an activity that acquires the features of “work”. ". But the strengthening of artistic functions, for example, artistic and productive, due to the weakening of leisure or socio-pedagogical ones, can “bring” the phenomenon into the sphere of “real art” or “professionalism”.

However, the nature of amateur artistic creativity has a dual character and is a subsystem of two large systems: artistic culture and leisure. Determining the place of amateur artistic creativity in the social structure of society, E.I. Smirnova offers the following scheme:

At the same time, amateur artistic creativity interacts equally with folklore and professional art.

Thus, amateur artistic creativity is a kind of self-developing mechanism, a process of movement from tradition to novelty, which is interconnected with professional and traditional folk art, but includes value orientations and new, original activities that have no analogue in other layers of artistic culture.

but amateur creativity can be considered not only as a process, but also as a social phenomenon. This approach, according to N.G. Mikhailova, due to his syncretism. those. the unity of direct creativity with the storage of created values, their exchange and distribution, the transfer of information that is mastered from generation to generation and, as it were, re-processed.

At the same time, it should be noted that amateur artistic creativity is a complex, multifaceted and diverse manifestation of human leisure activities, constantly evolving depending on the socio-historical and modern conditions for the development of society. As a result of the individual development of a person by means of art, there is a turn to a further source of quest for all types of activity - folk art culture, which not only arouses the desire to watch, listen, but also participate in the process of creating spiritual values. Analyzing the existing approaches to the study of concepts and terms related to amateur art, we can conclude that at present there are different points of view on the essence of this phenomenal phenomenon. In this regard, we note that “Amateur artistic creativity must be understood as a social movement of culture, which is a multifaceted phenomenon, including value

orientation. The result of this movement is the enrichment and modification of forms, genres, structural organization and content aspects in the folk art culture, and the creative process itself requires finding something new, original, non-standard.

test questions

1. Describe the essence of amateur creativity.

2. Define the functions of amateur creativity.

1. Plekhanov G.V. Selected Philosophical Works. M., 1958. T. 5.

2. Smirnova E.I. Amateur Art as a Social and Pedagogical Phenomenon: Abstract of the thesis. ... doctoral ped. Sciences. L., 1989.

3. Smirnova E.I. Problems of studying amateur art as a socio-pedagogical phenomenon // Pedagogical conditions for the organization of amateur creativity. Sat. scientific tr. L.: LGIK, 1982.

4. Mikhailova N.G. Amateur artistic creativity in modern conditions and directions of its research // Folk art: Prospects for development and forms of social organization: Sat. scientific tr. / Ministry of Culture of the RSFSR: Academy of Sciences of the USSR; Research Institute of Culture. M, 1990. S.6-12.

5. Velikanova E.V. Amateur artistic creativity as the basis for the revival of national cultural traditions. Dis. ... cand. ped. Sciences. Tambov, 2000. 223 p.