LEVELS OF SOCIAL AND PHILOSOPHICAL ANALYSIS OF SOCIETY

Considering different approaches to defining the concept of society, we have already identified several levels of generalization. Let's look at them in more detail.
In history lessons, you studied many specific societies with their inherent economic, political, spiritual life, the uniqueness of the social structure. The history of the peoples and countries of antiquity, the Middle Ages, the New and Recent eras. Of course, here, along with the description of individual facts (political events, battles, dates of reign of monarchs, etc.), there were generalizing concepts and judgments (the very grouping of events by spheres of society suggests that we use the concept of “public sphere” ) - without them it is impossible to draw a holistic picture of events, to bring disparate facts into some kind of system. However, we emphasize once again: at this level we are dealing with specific events, peoples and states. This level of consideration of society can be called specifically historical.
In the course of history, as well as in social studies lessons in basic school, you came across the concepts of “eastern civilization”, “Western civilization”, “feudalism”, “traditional society”, “industrial society”, “post-industrial society”. They recorded not isolated, but special features inherent in a wide class of phenomena and processes. This generalization is more high level, associated with the typology of societies. Researchers call this level historical and typological.
And finally, consideration of society as such, the identification and analysis of its universal properties brings us to the third level - social and philosophical. Of course, society does not exist at all, it is an abstraction. Each real society has its own path of historical development, its own unique, inimitable features. Still, such high-level abstractions are useful. They make it possible to see what is similar, repeating, and stable in social development, and make it possible to correlate phenomena that are outwardly very distant from each other.
Our course presents all three of these levels of consideration of society. At the same time, the specific historical level is not limited to referring to individual examples from the past that illustrate general principles. Important place The course is devoted to the analysis of modern Russian society - the society in which we live.

SOCIETY AND NATURE

The concept of “nature,” like the concept of “society,” has several meanings. In the most general sense, nature is interpreted as the totality of everything that exists, with the exception of the spiritual life of people (it is no coincidence that for a long time scientific knowledge was divided into “sciences of nature” and “sciences of spirit”). From this point of view, the material side of the life of society is also part of nature and largely develops according to laws common to it. Hence the attempts of thinkers of the 19th century. draw direct analogies with living nature when studying society: society is like a living organism, each part of which (its institution) performs a specific function; in society, as in nature, there is a struggle for existence, in which the strongest survive, etc. But over time under nature in social science began to understand the natural environment of a person’s environment, existing along with the social environment. With this interpretation, both society and nature are two relatively independent “life worlds” in which man exists. The isolation of society is expressed, in particular, in the fact that there are laws in it that are not inherent in the development of nature (for example, the law of acceleration social development).
For a long time, the natural and social environments were inseparable in human consciousness. Social relations were understood by people as the natural conditions of their existence. The established customs were perceived as an immutable reality, a manifestation of the natural order of things. In the Middle Ages, a distinction was made between the social (the activities of people, guided by their consciousness and will), the natural (natural necessity) and the Divine (predestination from above). These worlds were located in a strict hierarchy: at the top - the world of the Divine, behind it - the social and, finally, “inert nature”.
In modern times, with the beginning of industrialization, people's consumer attitude towards nature is established. Environmental pollution dangerous to human life, gradual depletion natural resources caused an environmental crisis and created a threat to the very existence of man.
The social environment is still perceived by people as more significant. However, the simplistic technocratic approach to nature and its role in the development of society is gradually being overcome. Nature appears complex and diverse, requiring humans to adapt to its rhythms and treat it with care. Comes to the fore unbreakable bond nature and society, which persists in the conditions of post-industrial society.

"SECOND NATURE"

And yet man today remains a transformer of the existing world, a creator, a creator of the new. This created world, called “culture,” is not inferior in its influence on people’s lives to the influence of natural factors, which is why culture is also called “second nature.” Understanding culture as the totality of all types and results of transformative human activity, aimed both at external environment, and on himself, reveals this concept in its broadest meaning and most fully corresponds to the original meaning of the word “culture”.
There are also narrower meanings of this concept. In particular, culture often refers to the achievements of mankind in the spiritual sphere of society: artistic creations, scientific discoveries, as well as the level of spiritual needs of an individual. A cultured person is considered to be an educated, well-mannered, possessing good manners and taste, fluent in literary language, interested in works of art.
Let us return to the broad meaning of the concept “culture”. What do we classify as created, “cultivated” by man? These are constructed buildings, technical devices, written books, sown fields, generally accepted norms of human life, composed songs and much, much more. All these are the fruits of the activities of people connected by a complex system of relationships. Thus, culture cannot be created and exist outside of society. At the same time, society is impossible without culture. Without it, we would not be people, but would remain only a community of individuals of a certain species. People act on the basis of cultural norms (morality, law, traditions), change under the influence cultural values(remember the “educational” meaning of the concept of culture), accumulate and transmit cultural achievements to other generations (thanks to this, continuity in social development is possible), create its new forms (this expresses social progress).
Even the natural aspects of our lives are transformed under the influence of culture. For example, we satisfy the need for food precisely in those ways that are accepted in modern society: in most cases, we buy food in a store (someone uses the possibilities of personal farming), process it (if it is not a finished product) on the stove, and serve the prepared dish on plates and eat it using special utensils.
Culture is characterized by historicity and great diversity. For a deeper study of the world of culture, researchers identify its types, forms, components and create various classifications.
It is generally accepted to divide culture into material(household items, communications, instruments and equipment, etc.) and spiritual(knowledge, language, values, symbols, rules, norms, etc.). This division is quite arbitrary. It is clear that behind every material thing there are certain forms of labor organization, the intention of the creators, and sometimes complex calculations, i.e., phenomena related to spiritual culture. At the same time, the fruits of spiritual culture are most often materialized: artistic images come to life on the pages of a book or on a painting, a religious idea is embodied in the construction of a temple.
The peoples who inhabited our planet in the past and living today differed and differ from each other primarily in their original culture. And this applies not only to differences in language, religious views or artistic creativity. Originality is manifested in traditions and rituals, family life and attitude towards children, manner of communication and food preferences, and much more. At the same time, understand individual elements culture of a society is possible only within the framework of its entire culture. One American sociologist gives the following example: people in Western countries have a particularly sensitive attitude towards oral hygiene. From the perspective of a representative of another culture, the ritual of regular, thorough brushing of teeth looks no less strange than the custom found among some tribes of knocking out their front teeth for beauty or, for the same purpose, protruding their lips with the help of special plates.
At the same time, researchers who studied the cultures of various peoples came to the conclusion that all cultures have inherent common features or shapes. They were called cultural universals. These include, in particular, the presence of a language with a certain grammatical structure, the institution of marriage and family, and religious rituals. All cultures have norms associated with caring for children. Almost all nations have a ban on incest - sexual relations with close relatives. But even these few universals are refracted in their own way in the culture of different societies. Thus, most of them reject polygamy, while in a number of Muslim countries this is a legal norm.
You will learn about the cultural uniqueness of various types of societies, about many cultures within a national culture from the subsequent paragraphs of the textbook.

PUBLIC RELATIONS

Let's return to the definition of the concept “society”. It follows from it that a set of individuals can be considered a society only if relatively stable connections are established between them. Here we emphasize the word “sustainable”. Imagine the situation: you are on a crowded bus, someone asks you when the desired stop will be, someone asks you to give the driver money for a ticket. The contacts that arise in these cases are random and episodic. They are not classified as social relations.
Let's turn to another situation. You have come to get a job. You will have to present a number of documents, possibly undergo an interview, enter into an agreement, which stipulates all the basic conditions of employment. Everyone who solves the same problem as you goes through similar procedures. Such relationships, relatively stable, largely impersonal (formal), affecting important aspects of people’s lives, are called social. This means relationships not only between individuals, but also between social groups, which develop in society.
The impersonal nature of many social relations made them very difficult to identify. It was not immediately possible to establish that relationships, for example, between the head of a family and the rest of its members in a traditional society are built according to a certain “algorithm”, regardless of the personal qualities of all those who lived under the same roof. The stable characteristics of these connections were not immediately identified: solidarity and rivalry, leadership and subordination, etc.
Entering a complex and branched system of social relations, people find themselves in a situation of interdependence. If a person thinks that he does not depend on anyone, then he is mistaken. After all, to be independent in this context means to satisfy your needs yourself, without the mediation and help of other people. Is it possible? This would mean that, for example, taking care of a piece of bread, you must grow the grain yourself, grind it, and bake a loaf. Even Robinson Crusoe was not completely independent on his island, since for his survival he used many objects salvaged from a sunken ship, that is, created by other people.
In science lessons, you learned that an objective, necessary, stable, repeating connection between events, phenomena or internal states of objects is called a law or objective regularity. Is it possible to count public relations manifestations of such a connection, since a number of their characteristics coincide with the concept of “objective regularity”?
With the beginning of the scientific study of society, the affirmative answer to this question seemed obvious. After all, a number of researchers likened society to a living organism. Consequently, there must be equally rigid connections in it, independent of the will of people. It was assumed that identifying such patterns is the main task of scientific social science, since this will make it possible to predict the further development of society and clearly determine the future consequences of actions taken today.
But this approach simplified the multidimensional picture of the life of society, leaving aside the conscious-volitional component human activities, which has a great influence on the course and results of social development. In the 20th century the idea of laws-trends, reflecting some objective processes of social life; More attention began to be paid to the specifics of social phenomena, taking into account the role of spiritual factors (interests, moods, value systems of people) in the development of society.
Basic concepts: society, society, social relations, culture, patterns of social development.
Terms: laws, trends.

Test yourself

1) What are the main meanings of the concept “society”? How is society defined in the broadest sense of the word? 2) What is the difference between the concepts of “society” and “society”? 3) What are the main levels of consideration of society? 4) How have people’s ideas about the relationship between society and nature changed? What caused these changes? 5) Show the ambiguity of the concept “culture”. 6) What is the role of culture in the life of society? 7) Illustrate with examples the thesis about the conventionality of dividing culture into material and spiritual. 8) What relationships do philosophers consider social? 9) How do the laws of social development differ from the laws of nature?

1. In what sense is the concept of “society” used in each of the statements below?
Uniting, as a rule, widely educated people who look at things sensibly and critically, noble society in the 19th century. remained a closed group, a kind of caste that did not accept outsiders.
Industrial society resolved a number of contradictions that existed at the previous stage of development, but at the same time gave rise to new ones.
Some researchers consider the emergence of society as a direct continuation evolutionary processes in nature.
2. Which of the following should, in your opinion, be classified as social phenomena?
A solar eclipse observed by man, arable land cultivated by a farmer, the destruction of coastal settlements by a typhoon, culinary processing of food before consumption.
3. Try to look at the industrial revolution that occurred in a number of countries in the 19th century from specific historical, historical, typological and socio-philosophical positions. What aspects of this phenomenon would be of interest at each of these levels of consideration of society?
4. American cultural scientists presented an imaginary dialogue between two people who understand culture differently.
Anthropologist. For an anthropologist, an ordinary bowler hat is the same cultural product as a Beethoven sonata.
Businessman. For me and my wife, a cultured person is only one who can talk about Debussy and Picasso.
Which interlocutor, in your opinion, uses the concept “culture” more accurately?
5. Ancient hunters killed a mammoth and began to distribute the prey among themselves. Did social relations emerge in this situation? Justify your conclusion.
6. “People, that is, the human psyche, the needs, hopes, fears, expectations, motives and aspirations of individual human individuals, if they mean anything at all, do not so much create their social life as they are its product... Even those institutions that arise as a result of conscious and deliberate human actions turn out, as a rule, to be indirect, unintended and often unwanted side effects of such actions,” wrote the English philosopher and sociologist K. Popper. Expand this statement, make it more specific.

Work with the source

Read excerpts from the works of the Russian philosopher S. L. Frank (first text) and French philosopher A. Molya (second text).

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Let's return to the definition of the concept “society”. It follows from it that a set of individuals can be considered a society only if relatively stable connections are established between them. Here we emphasize the word “sustainable”. Imagine the situation: you are on a crowded bus, someone asks you when the desired stop will be, someone asks you to give the driver money for a ticket. The contacts that arise in these cases are random and episodic. They are not classified as social relations.
Let's turn to another situation. You have come to get a job. You will have to present a number of documents, possibly undergo an interview, enter into an agreement, which stipulates all the basic conditions of employment. Everyone who solves the same problem as you goes through similar procedures. Such relationships, relatively stable, largely impersonal (formal), affecting important aspects of people’s lives, are called social. This refers to relationships not only between individuals, but also between social groups that develop in society.
The impersonal nature of many social relations made them very difficult to identify. It was not immediately possible to establish that relationships, for example, between the head of a family and the rest of its members in a traditional society are built according to a certain “algorithm”, regardless of the personal qualities of all those who lived under the same roof. The stable characteristics of these connections were not immediately identified: solidarity and rivalry, leadership and subordination, etc.
Entering a complex and branched system of social relations, people find themselves in a situation of interdependence. If a person thinks that he does not depend on anyone, then he is mistaken. After all, to be independent in this context means to satisfy your needs yourself, without the mediation and help of other people. Is it possible? This would mean that, for example, taking care of a piece of bread, you must grow the grain yourself, grind it, and bake a loaf. Even Robinson Crusoe was not completely independent on his island, since for his survival he used many objects salvaged from a sunken ship, that is, created by other people.
In science lessons, you learned that an objective, necessary, stable, repeating connection between events, phenomena or internal states of objects is called a law or objective regularity. Can social relations be considered manifestations of such a connection, since a number of their characteristics coincide with the concept of “objective regularity”?
With the beginning of the scientific study of society, the affirmative answer to this question seemed obvious. After all, a number of researchers likened society to a living organism. Consequently, there must be equally rigid connections in it, independent of the will of people. It was assumed that identifying such patterns is the main task of scientific social science, since this will make it possible to predict the further development of society and clearly determine the future consequences of actions taken today.
But this approach simplified the multidimensional picture of the life of society, leaving aside the conscious-volitional component of people’s activities, which has a great influence on the course and results of social development. In the 20th century the idea of laws-trends, reflecting some objective processes of social life; More attention began to be paid to the specifics of social phenomena, taking into account the role of spiritual factors (interests, moods, value systems of people) in the development of society.
Basic concepts: society, society, social relations, culture, patterns of social development.
Terms: laws, trends.

1. In what sense is the concept of “society” used in each of the statements below?
Uniting, as a rule, widely educated people who look at things sensibly and critically, noble society in the 19th century. remained a closed group, a kind of caste that did not accept outsiders.
Industrial society resolved a number of contradictions that existed at the previous stage of development, but at the same time gave rise to new ones.
Some researchers consider the emergence of society as a direct continuation of evolutionary processes in nature.
2. Which of the following should, in your opinion, be classified as social phenomena?
A solar eclipse observed by man, arable land cultivated by a farmer, the destruction of coastal settlements by a typhoon, culinary processing of food before consumption.
3. Try to look at the industrial revolution that occurred in a number of countries in the 19th century from specific historical, historical, typological and socio-philosophical positions. What aspects of this phenomenon would be of interest at each of these levels of consideration of society?
4. American cultural scientists presented an imaginary dialogue between two people who understand culture differently.
Anthropologist. For an anthropologist, an ordinary bowler hat is the same cultural product as a Beethoven sonata.
Businessman. For me and my wife, a cultured person is only one who can talk about Debussy and Picasso.
Which interlocutor, in your opinion, uses the concept “culture” more accurately?
5. Ancient hunters killed a mammoth and began to distribute the prey among themselves. Did social relations emerge in this situation? Justify your conclusion.
6. “People, that is, the human psyche, the needs, hopes, fears, expectations, motives and aspirations of individual human individuals, if they mean anything at all, do not so much create their social life as they are its product... Even those institutions that arise as a result of conscious and deliberate human actions turn out, as a rule, to be indirect, unintended and often unwanted side effects of such actions,” wrote the English philosopher and sociologist K. Popper. Expand this statement, make it more specific.

Work with the source

Read excerpts from the works of the Russian philosopher S. L. Frank (first text) and the French philosopher A. Mole (second text).

“Technology... in itself is not culture”

Culture is a set of absolute values ​​created and being created by humanity and constituting its spiritual and social existence. In the consciousness of mankind there lives a number of eternal ideals - truth, goodness, beauty, sacredness, which motivate him to scientific, artistic, moral and religious creativity...
What is usually called material culture, only preparatory, auxiliary value in relation to true culture matters. Cologne Cathedral, Acropolis, " Sistine Madonna", Shakespeare, Pushkin and in general all art is culture itself. But railways, telegraphs and telephones, in general all technology, being a product of scientific culture and contributing to the development of culture, is not culture in itself. Like true, spiritual culture, it is also a product of efforts, labor, the conscious will of humanity... Without being a culture in in true sense, she is, however, marked with her seal; this symbolic and real proximity to spiritual culture, as well as the services it provides to the development of the latter, extends to it psychologically the respect that we have for civilization and enlightenment. But this is far from confusing one with the other; on the contrary, in the interests of spiritual culture, it is extremely important not to lose sight of the purely utilitarian, auxiliary significance of the so-called “material culture.”

Main questions of the lecture:
1. Nature and society: main stages of development.
2. Problems of social ecology.

1. Nature and society: main stages of development.

The concept of “nature” is ambiguous. "Nature" in a broad sense, it is identified with the concept of the Universe, the world in general. In a narrower sense nature is the area of ​​life on Earth. Nature understood in this way received the name biosphere in 1875. This term was coined by an Austrian geologist. E. Suess. Biosphere- this is the entire set of living organisms and their habitat (water, lower layer of the atmosphere, top part earth's crust. A special place in the biosphere is occupied by man, who, being part of living nature, stood out from it and over time became isolated into a kind of active and opposing principle, constantly adapting nature to his needs.
Man's relationship to nature has changed throughout human history.
STAGE 1. Primitive communal. Primitive engaged in hunting, fishing, gathering, satisfying their needs by appropriating finished products. He is completely dependent on nature, does not highlight or oppose himself to it. His activity is dissolved in nature and does not threaten it in any way. His life is an endless struggle for survival. The omnipotent nature causes fear and uncertainty in a person, a feeling of absolute dependence. Natural phenomena are deified.
STAGE 2. Antiquity. The starting point of the new stage is the emergence and development of agriculture and cattle breeding. There is a transition from appropriating To producing economy. Man begins to actively interfere with nature. Forests are being cut down and irrigation systems are being built. Human activity is beginning to have a destructive impact on nature. Soil salinization in the Tigris and Euphrates valleys was the result of irrigation works. However, the destruction is local in nature and often leads to the disappearance of civilizations themselves - dependence on natural conditions people's lives are very large.
Nature remains a formidable force, superior to man in almost everything, but it no longer evokes horror, but admiration. In ancient philosophy, nature is the ideal of harmony, perfection and beauty. Space includes nature, gods and people, and distant stars. The laws of the Cosmos and nature are perfect. Man (and he is far from perfect) must live in harmony with nature and according to its laws if he wants to achieve the same harmony in himself.
STAGE 3. Middle Ages (1st-18th centuries) and the Renaissance (XY-
XVI centuries). People's dependence on natural forces does not decrease, man's exploration of nature does not radically change, but the ideological foundations of man's relationship to nature are changing. This is the period of dominance in Europe Christianity, in which spirit and body, the creating God and created nature, spiritualized man and unspiritual nature are contrasted. The meaning of human life is in union with God; nature fades into the background. The attitude towards nature is quite dismissive.
However, within the framework of the same Christian tradition, a completely different view of nature and attitude towards it is gradually developing. A person can know (unite) with God not only through prayers and turning “upward,” but also through knowledge and transformation of nature (!). God is reflected in nature. By cognizing the laws of nature, a person comes to know God and approaches him. But that’s not all: a person’s task in approaching God is also to co-create with him. He is called upon not only to cognize, but also to actively change, transform existing world. It is Christianity that lays the foundation for the rapid rise of science in subsequent centuries, the modern technocratic era. In the east, the attitude towards nature has not changed since ancient times - the idea of ​​man as a part of nature and the ban on interference in the natural processes of the universe (violation of law and harmony) remain.
STAGE 4. New time (XVII-XIX centuries). The main task facing man is to master and adapt nature to the ever-increasing needs of human society. The means of its development and conquest is knowledge of the laws of nature - science. "Knowledge is power!" (F. Bacon) is the motto of the entire modern era. Man is no longer a part of nature, he is its peak due to his supernatural origin and possession of reason (the god-like principle in man). Man and nature are opposed. Nature is losing its independent meaning and is considered only as a means of human existence. The attitude towards her is of an aggressively consumerist nature.
IN XX century, the active transformative activity of man on Earth acquires a destructive character and ultimately confronts humanity with the problem of not only self-destruction, but also the destruction of nature (as an area of ​​​​life) in general. The 20th century is a century of environmental crisis.

2. Problems of social ecology.

Ecology as a science that studies the interaction of society and nature, the consequences of human influence on natural processes, arose in the middle of the last century. In fact, this is the science of the Earth as the common “home” of humanity, which needs to be taken care of, not destroyed, but preserved (home teaching).
The essence "ecological crisis" is as follows:
1. As a result of the intervention, an imbalance in natural processes occurs, natural relationships within ecological systems are destroyed (for example, the forest area in Africa has halved over the last century, the reason is extensive agriculture; the number of deserts on the planet has sharply increased - 40% of the land surface)
2. Nature cannot cope with anthropogenic loads that significantly exceed its natural capabilities (the number of people itself is increasing alarmingly: at the current rate, by 2150-2200 it will reach 60 billion people - the maximum number that the Earth can feed)
3. The destruction of nature begins to wear irreversible character ( ozone holes, the possibility of a “nuclear winter”, Greenhouse effect etc.).
At present, it is clear to humanity, which is on the brink of death, that it is necessary to overcome the opposition between man and society, to stop the “ecological crisis,” to harmonize the “strategy of nature” and the “strategy of man,” and to develop a new ecological consciousness. Back in the mid-70s of our century Commoner B. Four basic laws of social ecology were formulated:
- everything is connected to everything;
- everything has to go somewhere;
- nature knows best;
- nothing is given for free.
These laws determined the inextricable relationship and interdependence of man with the environment and established a ban on thoughtless interference with nature.
Nominated "ecological imperative" by analogy with I. Kant’s categorical imperative: act in such a way that the norm of your behavior can become a universal environmental law. This imperative places responsibility for everything that happens to nature not only
on humanity as a whole, but also on everyone person.
Outstanding Russian scientist V. I. Vernadsky, analyzing the problem of the relationship between nature and society, in the 30-40s. last century came to the conclusion that due to active human activity, along with the lithosphere, atmosphere, hydrosphere and biosphere, a new sphere appeared - noosphere or the realm of the mind. The transformation of nature has led to qualitative changes in the biosphere on a global scale. Humanity taken as a whole becomes powerful "geological force" its activity is a determining factor in the development of the biosphere in general and is no longer local, but global in nature. Vernadsky described this new qualitative state of the biosphere with a “+” sign. Noosphere is understood by scientists as the highest stage of evolution, the connection of nature and society on a reasonable basis, their further harmonious development in one direction. The transition of the biosphere to the noosphere presupposes that man takes full responsibility for the further evolution of both the biosphere as a whole and himself, guided by the principle “Do not do harm." This stage is just being formed, but it must exist. The concept of V. Vernadsky must be the basis for a fundamentally new relationship between man and nature if he wants to survive on the planet.
Key concepts and words: nature, noosphere, ecology, environmental crisis, greenhouse effect.

Test questions and assignments:

1. How has man's relationship with nature changed throughout human history?
2. What is the essence of the “ecological crisis”?
3. What did V. Vernadsky understand by “noosphere”?

Introduction

1.3. Training in folk stage dance and traditions of national choreographic culture

2.2. Analysis of the research results. Diagnostics of the level of development of perception of national choreographic culture

Conclusion

Bibliography

Applications

Introduction

“There is only one historical path to achieving the highest pan-humanity, to the unity of mankind - the path of national growth and development, national creativity.”

A.V. Berdyaev

The key to socio-economic and political stability is, not least of all, the preservation and improvement of folk culture.

This problem is considered in the works of leading researchers in the field of dance teaching G.P. Gusev, V.M. Krasovskaya, A.A. Klimova, A.V. Lopukhova, T.S. Tkachenko, V.I. Uralskaya, T.A. Ustinova, A.V. Shiryaeva and others. This problem is developed quite fully in the works of the above authors, but at the same time, in their works, the essence of the goal and objectives of teaching folk stage dance as a factor in the preservation and development of the traditions of national choreographic culture is often interpreted so ambiguous and contradictory that the choice of means Teaching folk stage dance is often an extremely difficult task, and recognizing any technique as the only correct one is quite problematic. The pedagogical, cultural and art history aspects of the role of folk stage dance in the preservation and development of traditions in the conditions of the additional education system are also poorly studied.

The relevance of research. An appeal to the culture of the multinational Russian people, who have experienced more than one shock in their history, is necessary from the point of view of many sciences: philosophy, cultural studies, art. In modern conditions of globalization, a new threat comes to the forefront - how not to dissolve many national cultures due to the erasure of ethnic identity, how to preserve their original culture, part of the wealth of spiritual life that has accumulated over centuries since its inception, and how not to dissolve among others.

Being one of the stabilizing facts of social life, stable traditions of national culture are capable, as research shows, of helping a person adapt to a rapidly changing world, especially children and adolescents. Reflecting life experience of the people, creatively generalizing and comprehending it, folklore is a vivid expression of the artistic and historical memory of the nation, an important factor in social ecology and, as such, can contribute to the cultural “survival” of a person.

The importance of folklore today is also increasing for the actual choreographic art, not only as an arsenal expressive means, but also as a kind of source of “living water” that fertilizes the artist’s imagination. Familiarity with the wealth of dance creativity of peoples still serves as an effective means of ideological and aesthetic education of the younger generation. Preserving the riches and traditions of dance folklore, their organic inclusion in modern choreographic culture is the most important practical and theoretical task for all folklorists, choreographers, and art critics working in this field.

Based on the relevance of the problem, we chose real topic research: “Teaching folk stage dance as a factor in the preservation and development of traditions of national choreographic culture.”

Object of study: preservation and development of the traditions of the national choreographic culture of the peoples of Russia.

Subject of study: the process of teaching folk stage dance to teenage children as a factor in the preservation and development of the traditions of choreographic culture.

Target research: Based on an analysis of aspects of the preservation and development of the traditions of national choreographic culture, experimental work was carried out to study the role of training folk stage dance as a factor in the preservation and development of traditions of national choreographic culture.

Following tasks:

1. Based on the analysis of pedagogical literature, determine the basic terms and concepts on the research topic and structure them.

2. To reveal the psychological and pedagogical aspects of the problem of preserving and developing the traditions of the national choreographic culture of the peoples of Russia in modern conditions.

3. Characterize the age characteristics of teenage children and their relationship to the national choreographic culture.

5. Based on an experimental study, reveal the effectiveness of folk stage dance classes for teenage children as a factor in the preservation and development of the traditions of choreographic culture.

Research methods: to achieve the goals and objectives of the study, we used the following set of methods: empirical methods (ascertaining experiment); work with scientific literature, method of pedagogical observation.

Research base: Children's dance group at the Nizhny Novgorod Center for Aesthetic Education "Kalinka". The sample consisted of 20 adolescent children.

Chapter 1. Theoretical aspects preservation and development of traditions of national choreographic culture

1.1. Analysis of basic concepts related to the traditions of national choreographic culture

Socio-economic changes in all spheres of society have led to a change in value orientations in education. The leading goal of education becomes not the volume of acquired knowledge and skills, but the harmonious, comprehensive development of the individual, which makes it possible to realize the unique capabilities of a person, prepare the child for life, and his psychological and social adaptation.

Only the mental development of children, their intellectual enrichment does not ensure the comprehensive development of the individual. To achieve harmony in the development of a child, no less attention must be paid to his moral and physical improvement; the development of the emotional sphere of the individual cannot be ignored.

For centuries, art has been and remains one of the universal means of education, presenting a holistic picture of the world in the unity of thought and feeling, in a system of emotional images. In the process of historical development, art also acts as a custodian of the moral experience of humanity.

With the development of professional choreography pedagogy, in scientific literature questions are raised related to the training and education of a professional dancer who is capable of maintaining and developing in every possible way the best traditions national choreographic culture of peoples. Russia.

In modern art history literature, two forms of existence of choreographic folklore traditions are known: in their own natural environment and in performing arts. Who solves the problem of preserving folklore traditions - introduces us to the practice of several groups of collectives, which in their creative activity implement folk dance art and differ from each other, both in the ways of its interpretation and in some other parameters.

The first group includes groups, conventionally called ethnographic, whose participants perform authentic folklore of the geographical area where they themselves live.

The second group of groups, let's call them conventionally folklore, reconstructs the folklore of a region by recreating living traditions or, if they are no longer functioning, based on the study of existing materials. The third and fourth groups of groups, which include amateur groups working in the field of folk stage choreography, build their creative activities on the principles of artistic processing, development and stylization of folklore.

Artistic development is a higher stage of transformation of folk art compared to processing. From the folklore sample, the main figurative core, the brightest plastic motif, the leading idea (in vocabulary, drawing, performance, imagery - in any of the dance components) is isolated, which are developed, sometimes developed until they transform into a new quality. In essence, what happens here is the development of a folklore work into individual elements, their rethinking, transformation and new assembly of a stage work in accordance with the author’s intention. All structural elements of folklore dance are subject to transformation: its musical and rhythmic formula, plot structure, imagery. Here, even more clearly than during processing, the mediation of folklore by the traditions of professional performing arts is revealed.

A competent choreographer should be well aware of the “genetic code” of the transmission of heredity, i.e. those musical and plastic motifs, rhythmic formulas, compositional techniques that are, as it were, the quintessence of the national in choreography and can become the living core, the basis of a new stage dance. Of course, for the complete success of this business, it is necessary to combine a folklorist and a stage director in one person. But since in practice this is not always the case, the requirement for a choreographer to know folklore well, and for a folklorist to know the specifics of the stage, becomes relevant. Collecting, recording, and studying dance folklore is a pressing task in our time also because its wealth is often very quickly lost with its bearers, elderly people, and in this case also with mass emigration to the territory of Germany, and we must hurry, to have time to collect them as completely as possible.

Quite wide famous expression « local material"It's not clear. It includes modern dance, staged on a local theme, and traditional dances of the given area, region, and numbers staged by the choreographer based on elements of dances existing in the area. Sometimes the first and third lines are combined, and a number on a local theme is born, narrated by the choreographer in the traditional, local choreographic dialect.

When we say “local theme,” we mean that the dance tells the story of those who lived or are living in a given area, for example, the dance is dedicated to war heroes—compatriots of the performers. There are examples when, before creating such a dance, its participants themselves studied the history of their feat.

It could also be a story about the workers of the region, for example, weavers or steelworkers, carpet makers, lacemakers, etc. This does not mean that the dance necessarily has a plot character. For example, lacemakers and their beautiful products and drawings suggested to choreographers more than one bright generalized image, embodied in poetic round dances. Many traditional dances were also formed based on the characteristics of working life. This is even reflected in a number of names of dances, their individual figures and elements. These include, for example, the dances “Lenok”, “Shevchik” (shoemaker), such varieties of French branles as the dance of bakers, laundresses, weavers, etc., shen or the well-known “shuttle” figure in Russian dance, repeating the rhythm and drawing of shuttle movement in weaving. Local color also depends on the nature of the dance’s reflection of the natural features of a particular area, for example, the wide step of the inhabitants of a flat area, the light, careful step of a mountainous person, etc.

Staging on local material predisposes to originality, but at the same time it has significant difficulties. The first of these difficulties is associated not only with the need to study the life of one’s area, but also with the ability to select from it what is essential that constitutes its true peculiarity. And, in addition, to find features that are close to the nature of dance and can be figuratively expressed by the musical and plastic language of this art.

The process of creatively creating something new is joyful because of the great search itself. Therefore, not only the result should be assessed, but also the educational and cognitive impact on the team - the creative process, its usefulness. Although the possibility of failure is allowed, I would like to emphasize that even in this case, the assessment of the work cannot be unambiguous.

Let us dwell on the question of what it means to study local material. First of all, this means knowledge of choreography and folklore of a given region by the members of the group. For residents rural areas the question stands more clearly: your village and neighboring villages. For city residents: studying the folklore of your region. But before you start collecting folklore, serious preparation is necessary. Perhaps the most difficult thing is to be able to distinguish the genuine, valuable from the random or superficial. This can only be done with general preparation and understanding ethnographic features region, its nature, history, characteristic features of life, culture, etc. .

A significant share of this work can be done in the library and museum of the region, some of it requires meetings with old-timers, communication with the bearers of culture themselves. In some areas, traditional folk festivals are still preserved and folklore festivals are held. It is important to see not only the dance itself, this or that choreographic motif or performing technique, but also everything related to behavior, gait, communication, style of costume and ability to wear it, etc. and so on. A great success for a choreographer is the opportunity to directly plunge into the atmosphere of life of such a holiday, become a living participant in it, and join in the performance of the dance. One can, however, almost predict that a newcomer, even the best dancer, will most likely suffer failure. But here, unwittingly destroying the order of the round dance; or fence, having failed to merge into the general polyphony of the southern Karagod, you will truly understand the presence of something special, original, the need for its detailed study, penetration into its unique, logically conditioned internal rhythm. Then, having appreciated, seen and felt the beauty) of truth , pristine, with the help of a local historian-ethnographer, you can begin to collect the folklore of this region. It is difficult to overestimate in this work the importance of the help of like-minded people - members of the team (the role of such creative work in their education will be discussed a little later).

Collecting folklore involves recording dances that have been preserved in memory or exist today. There are several ways to record them: practical mastery, film photography and recording of choreographic text, and recording of music and song lyrics. Living conditions, stories-characteristics of the dance by performers, comments from the of different nature.

Creating a folk stage dance is not just transferring carefully learned movements and patterns to the stage - it is a process of recreating the atmosphere of the life of the dance, its breathing and the mystery of communication between performers that is born in it, determining its value and necessity.

Therefore, watching one dance on stage, we believe in its truth, it is a living organism for us, but, watching another, we perceive only its diagram, more or less interesting elements, more or less visually pleasing performers, and not the living whole - the dance .

The next problem is the ways of stage interpretation of folklore dance. They, according to V.I. Several from the Urals.

The first is the experience of recreating an authentic sample on stage, which we talked about above. Let's say right away that the authenticity of the dance on stage is, of course, lost, but we mean only the authenticity of the source of the sample. The dance suffers these losses, even if it is performed on stage by the villagers themselves, since the distance (stage, hall) and the artificial division into those watching and creating destroys the nature of co-creation and changes the life process of this dance. There are also choreographic losses associated with changing the point of inspection. The temporal laws of folklore action and stage also come into conflict. An attempt to relate these contradictions leads to the need to intervene in the text of the dance.

And this is the next path - stage adaptation of folklore. What does it include? First of all, based on the laws of stage composition, refinement of dance patterns. So, for example, if the entire dance is performed in a closed circle, slowly rotating in one direction, then under stage conditions this will be perceived as tedious monotony and is subject to development, i.e., change. The endless (for stage conditions) repetition of figures in quadrille (typical for performance in everyday life) is also subject to change.

On the path of beginning choreographers, first of all, they encounter the difficulty of understanding the material, comprehending it, developing their own idea and implementing it together with the performers. The most common mistake beginners make is the desire to include as many patterns, or even movements, as possible in one dance. And even if they are all very good in themselves, the dance will still turn out to be overloaded and “ragged”.

The next way is stylization. In this case, we mean the creation of a stage choreographic work of the author's own, but in the style of a folk source, using authentic movements and characteristic elements of the composition. This is the majority of dances in the repertoire of our professional and amateur groups. And here knowledge of the primary source is no less necessary than in the first two cases. Only it allows you to create a new work, covered in the truth of the original, its original features and centuries-old traditions. It is precisely such stage works that stand the test of time, become widespread and often return to the people where they are performed, often losing the authorship of the choreographer. Like many songs, T. Ustinova’s Davydkovskaya (Yaroslavl) quadrille, N. Nadezhdina’s “Birch” and a number of other works found such a life in the choreographic culture of the Russian people.

Masters of folk choreography - T.D. Ustinova, I.A. Moiseev, N.S. Nadezhdina, M.S. Godenko, G.Ya. Vlasenko, N.I. Zaikin and many others collected, studied and processed Russian dance folklore, gaining new life not only on the stage, but also in the hearts of the audience. Having moved to the stage, folklore dance not only could not look and be reproduced in its original form, but also the quality level of its performance had to look somewhat different than before. In this regard, a need arose for the preparation and training of dance performers, as well as dance teachers in amateur and professional groups. Today, the academic discipline “Russian dance” is studied in many universities and secondary specialized educational institutions of culture and art in our country. And its main task is to study the foundations and origins of Russian folk dance, its main movements, types and forms, as well as regional and regional characteristics.

The theme of the Motherland in song, music, and dance is manifested through the original features of the art of a particular people. That's why studying national art instills a feeling of love for the motherland, a patriotic feeling. This is the special value of T. Ustinova’s work, glorifying her native land, speaking in a modern way with her contemporaries about the past and present art of her Motherland. The theme of the Motherland is endless and diverse in Ustinova’s work: “Blossom, Earth”, “Folk Fun”, “Timonya”, “Moscow Round Dances”, “Kamarinskaya”, “Kursk Bells”, “Round Dances Are Done All Over Russia”...

The emergence and rapid development of folk stage dance culture was influenced by public balls, which have become a mandatory norm of social life, dance evenings and masquerades, which are regularly held in the halls of representatives of the nobility, and public balls that gather people of other classes. Polonaise, minuet, gavotte give way to the waltz, polka, mazurka and various types of country dance. One of the highlights of the ball was the French quadrille, and the cotillion served as a kind of dance-game.

Until M.M. Fokina (1880-1942) folk dance in the ballet was only an insert number. MM. Fokine creates a characteristic dance suite “Aragonese Jota” to the music of M.I. Glinka, that is, unites a group of dances with one compositional thought. He stages the plays “Scheherazade”, “Stenka Razin”, “Islamey”, which are entirely based on the characteristic genre. Characteristic dance of M.M. Fokina was different from the dances of his predecessors. MM. Fokine wrote: “No one form of dance should be accepted once and for all. To convey the bacchanalian ecstasy of Greek dance, pointe shoes are unnatural. It is also unnatural to perform Spanish dances in a Greek tunic. The rhythmic tapping of the heel, the restrained voluptuous bend of the entire line of the body, the serpentine movements of the hands are natural in this case.”

At M.M. Fokina folk- stage dance becomes expressive, expands its plot possibilities. A true masterpiece was “Polovtsian Dances” from the opera by A.P. Borodin "Prince Igor". A.V. Shiryaev, talking about his characteristic class at the ballet school, noted that this class was useful not only for students, it also served as a source of inspiration for choreographers.”

In the 60s 20th century open choreographic departments in cultural institutes. And here folk stage dance is given significant place among other professional disciplines.

T.S. made a great contribution to the development and practical approval of the system of training and education of folk stage dance performers. Tkachenko. She significantly expanded and systematized the exercises in the folk dance lesson and applied new names. Her lesson began with a system of exercises at the barre, where they gradually warmed up various groups muscles, which prepared for the performance of dance combinations and dances in the middle of the hall. We alternated exercises with a relaxed foot and a tense one, sharp jerky exercises with soft, melting ones. All exercises at the machine were performed in order of increasing difficulty. After the exercise at the barre, the lesson continued in the middle of the hall.

In his classes, T.S. Tkachenko always strived to achieve precision and clarity of each movement, to improve the technical side of the dance, and demanded from her students an understanding of the style and character of each dance. She emphasized that the teacher must acquaint students with the history, life and national culture of the people, which without interest in folk art students will not be able to correctly convey the characteristic features of the dance being studied. An important point T.S. Tkachenko believed in maintaining the purity of the style of the dance being studied, so she always protected her students from mixing styles, from contrived movements that had nothing in common with this dance. T.S. Tkachenko always noted that dance is the soul of the people and the folk dance performer needs his own attitude towards it, a vivid emotional expression.

This system of teaching folk stage dance is currently the most traditional. Many teachers work in this direction, bringing their own characteristics, individuality and vision of the final result to the specifics of teaching.

So, in 1966 it was published teaching aid based on folk character dance by A.N. Blatova. In 1972, N. Stukolkina’s book “Four Exercises” was published; in 1976, K. Zatsepina, A. Klimov, K. Richter, N. Tolstaya, F. Farmanyants co-authored the 1st part of the educational manual for secondary and higher educational institutions of arts and culture “Folk stage dance”. In 1983 and 1984 two parts of the book by A.A. were published. Borzov "Dances of the Peoples of the USSR". Subsequently, quite a lot of manuals were published describing folk dances. These are books by such authors as G. Vlasenko, N. Zaikin, R. Karimova, A. Klimov, M. Murashko, N. Nadezhdin, N. Tarasov, T. Tkachenko, V. Uralskaya, T. Ustinov, and many others . The process of further improving the methods of teaching folk stage dance continues today.

Having analyzed the development and formation of various schools in historical period, we were convinced that each of them had its own method, and teaching was carried out in an authoritarian or humanistic direction.

Over time, many methods have changed and innovative ideas have been introduced. By exchanging experiences, teachers borrowed individual elements from each other, using them in their own systems.

1.2. Age characteristics of children 12-15 years old

This age corridor includes children who have entered puberty.

Adolescence is one of the most important examples of human ontogenesis. It is characterized by the presence of significant specificity in all areas of activity. The characteristic features of adolescents are an inquisitive mind and a greedy desire for knowledge, a breadth of interests, combined, however, with scatteredness and a lack of system in the acquisition of knowledge. Teenagers usually direct their new mental qualities to those areas of activity that interest them more. The latter is especially important when analyzing the mental abilities of “difficult” adolescents. Intelligence, as measured by conventional methods, is usually below average in young offenders. At the same time, when solving practical life problems among peers similar to them, they often show extraordinary ingenuity and resourcefulness. Therefore, a judgment about the intelligence of a “difficult” teenager, based only on average indicators, without taking into account their specific life situation and interests, may turn out to be erroneous.

Adolescence is characterized by pronounced emotional instability, sharp mood swings, and rapid transitions from exaltation to subdepressive states.

The peak of emotional instability in boys occurs at 11-13 years, in girls - at 13-15 years. In older adolescence, the background of mood becomes more stable, emotional reactions are more differentiated. Violent affective outbursts are often replaced by emphasized external calm and an ironic attitude towards others. The tendency to introspection and reflection often contributes to the ease of occurrence depressive states. Teenagers, compared to children, are more purposeful and persistent, but in the manifestation of these qualities they are often one-sided.

Adolescence is characterized by an alternating manifestation of polar qualities of the psyche: purposefulness and perseverance are combined with impulsiveness and instability, increased self-confidence and peremptory judgment are replaced by slight vulnerability and self-doubt, the need for communication is replaced by a desire to retire, swagger is adjacent to shyness, romanticism, daydreaming, sublimity feelings often coexist with dry rationalism and cynicism; sincere tenderness and affection can quickly be replaced by callousness, alienation, hostility and even cruelty.

The problem of adolescent personality formation is one of the most complex and least developed in developmental psychology. I.S. Kohn rightly emphasizes that when speaking about the personality of a teenager, “we must constantly keep in mind not only the chronological age or developmental phase of the individual being studied, but also:

1) general properties the culture and society to which he belongs; 2) his socio-economic status; 3) the historical situation in which its development takes place, and the characteristics of its generation (cohort); 4) his gender and 5) his individual typological properties.”

Observations show that the transition from childhood to adulthood is the more difficult, the more significantly the requirements that society places on a child and an adult differ. Requirements differ, the concept of norm, law, morality, etc. changes. Thus, when working with teenagers, along with the ethno-cultural, socio-economic and historical differences of the society in which a person is formed, the differential psychophysiological and, above all, gender, age and individual typological characteristics of the teenager must be taken into account.

An important stage of adolescence is the process of developing self-awareness. It is at this time that a conscious attitude towards one’s needs and abilities, drives and motives of behavior, experiences and thoughts is formed. Self-awareness is also expressed in an emotional and semantic assessment of one’s subjective capabilities, which, in turn, acts as a justification for the expediency of actions and deeds. Self-awareness is based on a person’s ability to distinguish himself from his life activities. This attitude towards one’s conscious existence contributes to the formation of a certain idea of ​​oneself, one’s abilities and capabilities. The self-image (subjective image of one’s “I”) is formed under the influence of the opinions and assessments of others, when correlating the motives, goals and results of one’s actions with the norms of behavior accepted in a given society.

The question of the meaning of life, one’s place in the world of people becomes important. At the same time, the worldview search is distinguished by extreme maximalism. A teenager definitely needs a universal answer, a formula that would simultaneously explain to him the meaning of his own existence and the meaning of the existence of humanity as a whole. However, knowledge of the main life goal, as D.A. correctly emphasizes. Leontiev, is a complex process that requires high social and moral maturity. Nevertheless, a teenager, unlike a child, does not want and cannot take for granted everything that adults tell him about. He begins to compare the words and actions of adults and, finding contradictions in them, develops his own attitude towards the world around him.

Reflection and introspection, manifested mainly in the search for the meaning of one’s own existence, are accompanied by a reassessment of values, a change in attitudes towards established “rules” and authorities, a tendency to philosophize, and “soul-searching” in sensations and experiences

An integral part of the formation of a teenager’s worldview and social activity is the formation of moral consciousness, which is in a certain way related to age. If a child’s behavior is guided primarily by an external system of rules (dos and don’ts), then the teenager develops conscious moral principles. A child’s behavior is entirely dependent on external influences, while a teenager in his actions is increasingly guided by internal beliefs and his own conscience.

It has long been noticed that peremptory judgments and categorical assessments in adolescents coexist with constant doubts and uncertainty about the correctness of their actions. This contradiction is explained, on the one hand, by psychological, and above all intellectual, immaturity, and on the other hand, by the search for conscious moral principles.

The foundations of teaching folk stage dance are laid in the very specifics of the professional choreographic art of Russia.

“Folk stage dance and methods of teaching it” - a system of knowledge, a historically established set of specific means and methods of the system of classical choreographic art - is a pedagogical discipline.

Subject to the laws of general pedagogy, dance pedagogy is based on didactic principles: educational training, scientificity and accessibility educational material, clarity when learning new material, strength of knowledge, skills, activity of creative activity of students, their independence, connection of educational material with the life and interests of students.

In addition to the generally accepted principles (the principle of the unity of the emotional and conscious, the unity of the artistic and technical, the unity of theory and practice, the principle of self-control) in dance pedagogy there are subjective and individual ones. They are characterized by the teacher’s personal views on ways to practically implement the intended tasks, his vision of the subject, which gives the most effective result in teaching. In teaching methods, there are individual and group methods, generally recognized, which can be assimilated, transformed and modified.

The effectiveness of the study of pedagogical methods, confirmed by the knowledge of science, as well as the historical aspect, can indeed form the basis of one’s own system of teaching methods, confirmed by the teacher’s literacy, humaneness of relationships, improvement of professionalism, unity of theory and practice, where the teacher’s own handwriting has great importance for training technology and professional culture student - a future performer of folk stage dance.

Choreographer's experience pedagogical work allows you to improve teaching methods and find individual pedagogical solutions, with the help of which professional skills will grow and the technique of folk stage dance performer will improve. Therefore, the connection of methodology with theory and practice will be a necessary process in the development of choreographic education. Following the main principles of folk stage dance - accessibility and expediency in choosing the basic elements of various types of dance of the peoples of the world; knowledge and understanding of the connection between folk dance and music, song, literature, fine arts; creative perception of folk dances and modern dance compositions; studying the basics of folk stage dance, which provide for the development of students' body plasticity, coordination of movements, musicality, expressiveness - promotes harmonious and physical development.

The main category of any educational system is the concept of “method” - this is the beginning of all principles, the basis, including, of the narrower concept of “methodology”. The methodology studies the patterns of learning based on the characteristics of the science or art being studied, reveals the goals of teaching the subject, its significance for the development of the student’s personality.

There is a misconception that the methodology for teaching folk stage dance is only the applied part of the dance itself. It is supposedly enough to know the corresponding dance well in order to be able to teach it. This view is due to the confusion of the tasks of folk stage dance and the methods of teaching it.

The peculiarities of the subject “folk stage dance” are in the organization and methodological understanding of the most diverse elements of folk dances and in their use in the formation of a performer during training. This subject reveals ample opportunities both for mastering technology and for the emotional development of acting abilities and widely educates, introducing the national plastic and musical culture peoples of the world.

The subject of the methodology for teaching folk stage dance is the learning process, the pedagogical activity of the teacher in organizing and managing educational activities students.

The professional educational program for specialist training is implemented through the historically established and culturally significant system of classical choreographic art and provides training for teachers of choreographic disciplines. The following areas and objects are determined for the specialist: professional activity, consisting of the following basic requirements - he must be prepared for pedagogical, creative, rehearsal, production, organizational and managerial activities.

The content of the subject “Folk stage dance and methods of teaching it” includes: the place and role of folk dance in the system of professional choreographic education; studying the history and theory of methods of teaching folk stage dance; justification of the principles, content and methods of teaching folk stage dance in the system of classical choreographic art; definition of cognitive and educational value and objectives of the academic subject “Folk stage dance”; mastering the technique, style and manner of performing the basic elements of various types of dance of the peoples of the Russian Federation, dances of the peoples of the world; determining the content of the methodology for teaching folk stage dance; development of methods and organizational forms of training that correspond to the goals and content of the subject; scientific substantiation of programs, textbooks; development of educational equipment for the subject; determination of requirements for the training of folk stage dance teachers.

The source of the emergence and development of folk stage dance and its teaching methods are:

1. The practice of social life. The need of society for the preservation and development of Russian dance culture, the glorious traditions of Russian ballet, has given rise to the desire to understand the laws of the system of classical choreographic art and, on their basis, to build a system of training personnel in the field of professional choreographic art.

2. Practice of choreographic education and upbringing. It is in it that all theoretical propositions are tested for viability and are born original ideas, encouraging the theory and methodology of teaching folk stage dance to develop new provisions.

3. Progressive ideas about the content and ways of educating a harmoniously developed personality, which were expressed by philosophers, teachers, cultural and artistic figures from different eras and countries.

4. Government resolutions on the state and ways of improving culture and art in the country.

5. Research results both in the field of theory and methods of teaching folk stage dance, and in related disciplines.

The study of any academic discipline, as a rule, begins with mastering its conceptual apparatus, i.e. from specific professional terms and concepts.

A concept is the basic form of human thinking, establishing an unambiguous interpretation of a particular term and expressing the most essential aspects, properties or characteristics of the defined object (phenomenon). The basic concepts of the methodology of teaching folk stage dance include the following: the education system in the field of professional choreographic art, the basics of the theory and methodology of teaching folk stage dance, pedagogical activity.

The expression of the national principle in the art of dance is not limited to direct connections, to quoting the original source. Through the persistent and careful work of generations of artists, teachers and ballet directors in Russia, precious grains of the original were preserved, and the superficial and alien were eliminated. Conscious and generalized, this process led to the creation a true masterpiece classical dance Lebedey L.I. Ivanov in the ballet P.I. Tchaikovsky "Swan Lake".

“Swan Lake” confirmed two sides of the ongoing process of mutual influence of folk and professional choreography: firstly, folklore is the basis of national identity, and secondly, it is only the basis. The ongoing process is more multifaceted and broader: it is characterized by the expression of a truly national image in the figurative structure of the work, in identifying the nature of the artistic thinking of the nation, the characteristics of its psychology. This process distinguishes our school of classical dance, opens up inexhaustible possibilities for its development, and determines the performing style of domestic stage choreography.”

The peculiarity of the subject “Folk stage dance” is in the organizational and methodological understanding of the most diverse elements of folk dances and their use in the formation of a performer during training. This subject provides for the development of techniques for performing folk dance, the emotional development of expressiveness of acting skills, and introduces the national plastic and musical culture of the peoples of the world.

Naturally, the first place for every nation is occupied by its native dance, which is included in the training program of the future dancer to a greater extent than others. In the learning process, the future performer of folk stage dance achieves plastic mobility and mastery of a variety of coordination techniques for performing folk stage dance movements.

Mastering the art of folk dance greatly contributes to the education of the plastic culture of future performers of folk stage dance and the identification of their creative individuality.

Practically, the development and transmission of the traditions of the national school of dance occurs when learning to perform it. Every national dance is in a certain sense school. For example, a school of Indian, Spanish, Russian dance. At the school of Russian dance named after. T.A. Ustinova, where the leading subject “Russian dance” summarizes several courses: dance lesson (technique and manner of performance), study folklore options, improvisation and mastering the repertoire of the dance group of the State Academic Choir named after. Pyatnitsky. Each of the components of the Russian dance subject has its own tasks, but the main one is to instill love and genuine interest in Russian dance culture.

The study of folk stage dances, with different rhythms and manner of performing folk dances, gives future performers the opportunity to acquire the necessary performance technique, enrich creative imagination, develop coordination of movements, musicality and sense of rhythm, show your acting temperament, and feel organic on stage.

A folk dance ensemble studio, as a rule, exists on the basis of a specific artistic group and its teaching tasks include preparing a succession of performers in a folk dance ensemble. General preparation allows the graduate to master the repertoire of another ensemble, but this requires additional study.

The main feature of the studio is its existence under a certain creative team, i.e. direct subordination of the educational process creative life ensemble. The Tatar ensemble will have Tatar dance, and the Russian ensemble will have Russian dance. This subject, being mastered deeply and widely, is at the same time continuously adjusted by the repertoire or fragments from it available at different stages of training in order to assimilate the traditional manner of performance and the original requirements of a given ensemble. At the same time, the studio is a kind of personnel reserve, which creates a perspective for the life of the ensemble, as it ensures the living transmission of traditions.

In the process of learning in a studio, it is necessary to sensitively capture the individual characteristics of dances, due to the fact that “every nation... has its own coordination of movements, its own music, its own accents, pauses and temperament.”

The process of mastering the terminology of folk stage dance has an important developmental and educational function. Terminology (from Latin terminus - border, limit and Greek logos - teaching) is a special language, a set of special and artificial signs used in science or art.

Folk dance exercise is a system of exercises and movements of folk stage dance, which arose on the basis of classical dance. IN famous period French words, serving as terms of classical ballet, have changed their meaning. This required clarification of terms. Unfortunately, we have to admit that in our country there is no special dictionary terms of folk stage dance, standardization in the description of certain positions and movements of folk stage dance. The study of materials on methods of teaching folk stage dance revealed a lack of unity in the use of terms in the works of domestic authors. Thus, a number of important and widespread terms have several meanings and are used to refer to various movements.

We were faced with the task of choosing terms that best corresponded to the traditions that have developed in the domestic school of folk stage dance and are most widely used, since the activity of a teacher of folk stage dance is impossible without mastery of specific in professional terms and concepts. This manual is accompanied by a brief dictionary of terms and phrases used in the methodology of studying different types of dance.

Thus, the analysis of the literature showed that the teaching methodology formulated theoretical provisions that change the traditional idea of ​​​​the pedagogical possibilities of choreography in education: 1) the art of choreography is an important element of world culture, 2) the art of dance is available for study to any child, regardless of his natural talents and age, 3) choreography has enormous educational and training potential, which is practically not used in secondary schools; 4) the study of historical and everyday dance as an integrating link of choreography with the subjects of the humanitarian cycle is justified.

At the same time, the role of teaching teenage children folk stage dance as a factor in the preservation and development of the traditions of choreographic culture and, on the basis of experimental research, to show the effectiveness of classes, is not fully disclosed in literary sources.

Chapter 2. Experimental study of the role of teaching folk stage dance as a factor in the preservation and development of the traditions of national choreographic culture

2.1. Practical aspects of teaching folk stage dance in a teenage group. Methods and means of teaching folk stage dance

Educational work - component and an indispensable condition for the creative activity of an amateur group. Performance level, vitality, stability, prospects creative growth primarily depend on the quality of educational work.

The tendency to divide educational work in a team into two separate parts (teaching and educational), or to consider educational work in isolation from the creative process, which only means the accumulation of a certain amount of professional knowledge and skills, does not stand up to criticism.

The most effective is the unity of training and education directly in the process of creativity and awakening the desire to master skills, arouse the need for it and, on the basis of awakened interest, carry out a purposeful artistic and creative process in which pedagogical and creative tasks are organically combined. Under this condition, the learning process in an amateur group also becomes a process of personal development.

Basic shape The remaining part of the educational process in an amateur group is the lesson - rehearsal, collective classes, in which the participants practically master and consolidate the necessary knowledge and skills, as well as individual communication between the teacher and the team members. The learning process for participants in amateur groups is based on general pedagogical principles of didactics:

• activity;
• unity of theory and practice;
• visibility;
• accessibility;
• systematicity;
• strength of knowledge acquisition;
• individual approach.

That is why it is completely justified to turn to the experience of professional choreographic schools that have an established training system, where the study of all special disciplines is considered as an integral part of the training of a highly qualified performer. Knowledge of these disciplines is no less necessary for the leader of an amateur group, but the organization and content of work in these conditions must be different, since the creative interests of its participants have a different focus than those of professional performers. Therefore, the methodology for training non-professionals is different from professional training. The actual educational process in amateur groups proceeds in the same sequence, however, mastering professional skills and mastering the repertoire are subordinated to the maximum development of creative abilities.

Issues of selection of repertoire, mastery of means of artistic expression, application various forms and teaching methods, use of experience vocational schools and folklore traditions, the combination of collective classes with individual and small group ones form the basis for understanding the essence of the educational process in amateur groups.

Specifics educational work in an amateur group consists of an organic combination of artistic, performing, general pedagogical and socio-psychological aspects, which should ensure not only high professional and technical training, but also the formation of an appropriate level of general culture and aesthetic development of the team members.

Using dance recordings

When deciphering a dance, all received materials are usually compared and analyzed. We can say that this work is of a research nature. Let us dwell in some detail on the issue of fixation, since the safety of the parts and the whole depends on this. First of all, let us once again turn to what we include in the concept of “choreographic text”. This is one of the most complex and controversial issues in ballet studies, which today has not received its unambiguous definition.

Like any text, choreographic dance includes direct means of expression, i.e. movements from which dance phrases, sentences and periods are composed. But just like literary text In addition to this main means of expression - words, there is nuance in their pronunciation, the structure of phrases, marks: exclamation or question marks, commas, etc., the choreographic text also includes characteristics of the execution of movements, which make it possible to give them a certain semantic meaning, to reveal the content of the dance . Therefore, not only individual movements and their combinations must be recorded, but also the location of these signs of expression in space, i.e. dance drawings, as well as the character and manner with which they must be performed in order for the whole to arise - the dance. We can say that it is recorded who performs what and how they perform it, and each of these questions has an ambiguous interpretation.

Who performs. This question includes both recording information about the direct performers of the dance who showed it to students, and who, according to the information of folklore speakers, performed this dance according to tradition. And here there may be a discrepancy, since this dance may have once been the property of only girls, and today its bearers are older women.

What does it do? The most significant part of fixation. The person recording the dance can use any form and method of recording available to him. This could be a video recorder or a movie camera, it could be a camera with slide or black-and-white film, a variety of iconic recording systems could be used, from the world-famous R. Laban and R. Benes to the cinemagraphy of S. Lisitsian, or the form of recording that used individually by one person. The result, the capacity, is important if the purpose of the recording involves deciphering it by the person who recorded it. If the purpose of the recording takes into account the need for others to read it, then one should proceed from the capabilities and preparedness of the readers. So, for example, before staging a dance on a traditional basis in the Hungarian State Dance Ensemble, the artists get acquainted with the texts documenting the dances of a particular region (recording in the R. Laban system). This presupposes their knowledge of iconic choreographic writing. They teach this in school, so there are no problems deciphering it. In the absence of people familiar with a particular recording system, symbolic recording does not make sense. Therefore, at this stage, most specialists have recently been using a somewhat systematized literary form of presenting the material, clarifying it with graphic drawings or photographs.

Any recorded folklore material is subject to analysis, i.e., comparison of data obtained from several sources, isolation of the most characteristic elements, etc.

How he performs. Of course, the recording itself, be it a film photo, iconic or literary, largely answers this question, and our emphasis on this point is somewhat arbitrary. But, taking into account the importance of color, which is not always perceptible during a single acquaintance with a performance (and the recording records a specific performance), we believe that when recording folklore, it is necessary to pay special attention to how certain elements of the movement are performed, what is the manner, the “peculiarity” their pronunciation, how it manifests itself.

Naturally, such a professional commentary requires a keen eye and analysis of what is seen. The slightest change in perspective, the manner of moving a hand or folding a handkerchief in a hand, which the performer waves in a dance, participation in the rotation of the entire body or its immobility, etc., give those difficult-to-grasp, but creating a special flavor, details that address the dance to one or another terrain.

It is also interesting to write down the performers’ stories about their dance, since the language of words and intonations with which this story is told is also the path to understanding it.

IN AND. Uralskaya in the preface to the collection of selected Russian folk dances by T.A. Ustinova writes that “any dance can be choreographed by recording, even if you have not seen it on stage. Many choreographers are knowledgeable about recording dances and stage them successfully in groups. The director may slightly change the movements depending on the preparedness of the dancers; correctly assimilated and creatively enriched by the imagination of the director, the dance recording material often makes it more interesting. Having chosen a dance, the leader carefully reads the recording. First of all, you need to read the summary of the dance several times. This will help you understand the characteristics of the characters in the dance and will make it possible to clearly understand the main idea and the nature of this dance.

Then you need to get acquainted with the music. It's best to listen to it several times in a row good performance accordion player or pianist. After this you can collect dance group, read the contents of the dance to future performers, talk about its features, composition, introduce the music, discuss the performers’ costumes and design.”

It is not always possible to design a dance as suggested in the book, so it makes sense to invite an artist to discuss a future production or offer a design made by an artist from among the participants.

It would be good if all participants could watch a film or performance whose plot and images are close to the theme of the chosen dance. After this, you can identify the performers and begin learning individual dance moves. Work on learning the elements of dance must be carried out to the music.

Recommendations for choosing a source for dance production. Folk dances, not provided with any methodological commentary, were performed quite accurately only in those groups where the teacher was familiar with the choreographic specifics of the dances of this period.

Dance collections published in recent years often indicate a “strict” address. Of interest, for example, is the collection “Children’s Dances” (publishing house “Soviet Russia”), the series “Methodology and Repertoire”, including dances of the peoples of Russia (publishing house “Iskusstvo”).

It is necessary to select publications that provide a detailed historical outline of folk dance culture and its features.

Methodological material is needed to help master the peculiarities of the manner of performing national vocabulary.

When preparing the performance, dwell in detail on examples of dance compositions of a given people, folklore and stage versions, as well as dances from different regions of each republic.

In recent years, a great variety of possibilities for using Internet materials for staging folk stage dance can be found, and the requests of a wide variety of amateur artistic groups, from beginners to those with significant training, as well as different performing compositions and sizes, can be taken into account. At that time, the abundance of material does not always guarantee quality, therefore, among the main conditions for the success of artistic groups (especially children's) is the skill of the director-choreographer, his professional competence and culture.

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Annex 1

Questionnaire

for the study of artistic and aesthetic taste and value judgments

1.Do you like listening to music? Yes - No (underline as appropriate)

2.Do you like watching dance performances? Yes - No (underline as appropriate)

3.What genres of music do you know? 1)________________ 2) ___________ 3) ______________________

4.What types of dances do you know? 1)________________ 2) ___________ 3) ______________________

5.Name which ones musical works besides the above, do you know?

1)_______________________

2) ______________________

3) ______________________

6.Name your favorite song or dance performers?

1)_______________________

2) ______________________

3) ______________________ 7. What are your favorite songs and dances?

1)_______________________

2) ______________________

3)______________________ 8. Explain why you made this or that choice?

9. Do you think your future will be in some way connected with music or dance?

Thank you for participating in the survey.

Appendix 2

Distribution of answers to the question “Name your favorite song or dance performers and your favorite works”

Note:

a) children name works and performers of dance or song belonging to different genres (including folk), and justify their choice with a detailed judgment;

b) children name works and performers of dance or song belonging to different genres (including folk), but cannot justify their choice with judgment;

c) choose only popular hits and hits (or performers), justify their choice with a detailed judgment;

d) choose only popular hits and hits (or performers) but cannot justify their choice with judgment;

e) cannot name the performers of the dance or song, or their favorite piece.