Team - a group of the highest level of development, in which its members are united by a single socially significant activity, united by the desire to achieve its common goal, find opportunities in it to satisfy their interests, manifestations of individuality, a certain self-realization.

In such a group, relationships are built on the basis of mutual respect, friendship, comradeship, mutual assistance and support, which positively affect each other's upbringing, training, education and development. There are healthy people in the team public opinion, friendly moods, traditions, customs, norms of behavior, relations of collectivism, duty, responsibility, cooperation. Its members have a strong sense of honor of the team, the preservation and strengthening of its good name, the desire to achieve overall high results, coinciding with personal interests.

Important feature team and that he aware themselves as a pedagogical force, believes in their ability to educate, educate and otherwise influence their members, shows purposeful activity in the implementation of influences on everyone, and especially on those in need of help, support, improving professional skills, overcoming the difficulties experienced and existing personal weaknesses, etc.

What are the characteristics of a group of artistic folk art? First of all, it is necessary to define artistic folk art as part of cultural and educational activities. Consequently, it must have all the features of this activity and at the same time specific features.

Thus, the collective of artistic creativity is characterized by both educational and artistic and artistic and performing goals and objectives, it is characterized by a dual nature, manifested in the unity of educational and artistic and artistic and performing activities of its members.

We will form in general view the following signs of a collective of artistic creativity:

1) Assumes the voluntary inclusion of participants on the basis of their spiritual needs and interests;

2) Organized under the guidance of a pedagogical team of a certain type and genre artistic activity;

3) Participants are directly involved in the activity of creating a work of art;

4) Participants demonstrate their artistic values viewers, performing the functions of their education and development.

5) With regard to amateur performances: carried out during leisure hours.

The amateur art group has its own special features: a) educational, educational and artistic and creative goals common to all participants; b) artistic and pedagogical activities common to the participants; c) performing activity common to the participants, addressed to the audience; r) establishing and maintaining in the processes of artistic and pedagogical activity the contacts of the participants with each other and with the teacher; e) establishing and maintaining contacts between participants and spectators in the processes of artistic and performing activities; f) the presence of a general artistic and pedagogical orientation based on aesthetic experiences and ideas; g) the presence of cultural values of the participants.

It is easy to see that these features, taken together, distinguish the amateur art group from other types of groups. On the one hand, it has similar features with educational groups (general educational goals and educational activities), on the other hand, with artistic groups, for example, professional theater or orchestra (general artistic and creative goals and artistic and creative activities based on them). creation and performance of works).

A. S. Makarenko emphasized: “The team is a social organism, therefore, it has management and coordination bodies authorized primarily to represent the interests of the team and society”

From this point of view, the collective of artistic creativity is an artistic and pedagogical organization, in which, as it were, pedagogical and artistic functions are merged, combined. The teacher plays the role of organizer and leader of the life of the team. At the same time, under his leadership, an asset, consisting of the most authoritative and initiative participants, as well as those responsible for certain events - organizing intra-collective evenings, publishing a newspaper, etc., carries out its creative activity. similar collectives, assuming common spiritual needs and interests of participants in joint artistic-pedagogical and artistic-performing (demonstration) activities.

Team Functions

What are the functions of the art collective? Examination of works discussing these functions most often reveals two extreme points of view. Some authors tend to identify them with the functions of the educational team, others - professional art. The specificity lies in the duality of its nature, character. Therefore, its functions artistic and pedagogical. And this is not just a set of them, but an internal unity that represents the system in its entirety.

The initial functions are the involvement of people in artistic activity and communication. The collectives' serious efforts are aimed not only at generating interest in the consumption of works of art and folk art, but also at awakening readiness for independent artistic activity and communication.

The creative team also has other functions.

Inclusion of participants in artistic activity and communication is a form of their “transition” from labor (educational) activity and communication to activity and communication intended for their active recreation.

What is the value of this feature? It characterizes the team as a means of helping to overcome the internal inertia of a person, to move from the “wave” of labor (educational) activity to the “wave” of active recreation, which requires a different concentration and effort. In this regard, the team helps the participant to form the skills and abilities of cultural recreation, which has nothing to do with thoughtless pastime, devoid of true spirituality and leading to the passivity of the individual. Studies have found a certain pattern: the more actively, diversely and meaningfully the participants are involved in artistic activities and communication, fruitfully rest, the more labor (educational) success they achieve.

At the same time, the team of artistic creativity creates favorable conditions for the emergence and maintenance of a sense of joy and optimism of the participants. Emotional experiences, permeated with deep and diverse moral and aesthetic feelings, are characteristic of artistic activity and communication of participants. Therefore, let us pay attention to the role of the team in maintaining a certain emotional state of the individual.

If the first two functions - involvement in activities and communication - draw attention to the need to involve people in intra-collective life in the artistic field, then the next two - on the nature of this activity and communication, which should be forms of active recreation imbued with feelings of optimism and joy. In these functions, the artistic and pedagogical orientation of the team was not explicitly revealed. However, without them it is impossible to characterize it in its entirety.

In situations where, in activities and communication, participants experience difficulties in reproducing artistic material, the leader is looking for an answer to the question - why do they fail at one or another moment in working on a work. He is looking for it by analyzing his own activities and team members. This is how an artistic and pedagogical position arises, requiring knowledge not only about a work of art and the technology of its implementation, but also about the psychological and pedagogical processes of their transfer to participants. If in one case the leader needs to master artistic and technological activities, skills and abilities in the field of a particular genre of art, know the history and current trends in its development, implement artistic analysis and criticism of works, then in the second - to direct psychological and pedagogical processes, to possess the knowledge and skills of a teacher and educator.

Among pedagogical functions should, first of all, select learning function, which, as it were, absorbs and concretizes other functions. For the very process of teaching art is based on the fact that the participants are already "immersed" in artistic activity and communication, as a form of recreation that brings them joy and pleasure. The function of training is to equip participants with experience, knowledge, skills and abilities of artistic and aesthetic activity on the material of works of art and folk art in accordance with certain educational tasks.

If the participants have successfully mastered the artistic material, means and methods of its performance, but cannot reproduce the ideological and artistic image of the work, then it is necessary to carry out the function of education. Participants must familiarize themselves with the history of writing a work of art, with the era in which it was created, in a creative way choreographer (composer, playwright, poet, etc.), with artistic life and aesthetic trends, etc., with: achievements of artistic culture, national artistic traditions and styles, lifestyle, views and ideals, as well as with modern socio-political and cultural life of the country, republic, region
(regions).. In accordance with this, a wide range of
range of cognitive, moral and aesthetic tasks as "within" the chosen ("profile") type and genre of artistic
activities, as well as in the spheres of social and political life, culture and art. However, by doing only these
tasks, it is difficult to fully rely on success in work. In certain situations, team members cannot solve problems correctly, since they do not have the appropriate level of artistic, aesthetic and moral education. It happens that the participants agree with the description of the leader that the work is beautiful, but they themselves do not experience deep emotional experiences during its performance. The underdevelopment of their moral and aesthetic feelings affects. Therefore, the leader needs to educate the participants, gradually forming their feelings, views, ideals, values, tastes. The team of artistic creativity, thus, also carries out the function of educating participants.

The manager has a problem when he
does not satisfy the artistic and aesthetic performance of the work. As if the participants conscientiously and faithfully reproduce it, but do not rise to a high creative level. The leader then seeks to solve a complex system of tasks aimed at developing a creative attitude to aesthetic activity and communication in a team, developing abilities and needs for constant search and improvement in performance, to bring into it a creatively unique individual-peculiar ideological and artistic vision and experience. Thus, the team of artistic creativity must perform the function of artistic, aesthetic, cognitive and moral development of the participants, so that they become true creators of spiritual values.

The team of artistic creativity also performs organizational functions. These include the organization, management and management of the processes of involving participants in artistic activities and communication, recreation and entertainment, in the processes of their training, education, upbringing and development. Organizational functions are also ultimately oriented towards the all-round development of the participants. Thus, the analysis of the functions of the artistic creativity collective allows us to characterize it as an interconnected system.

These functions of the artistic group are "internal", because they are focused on solving problems within it. Therefore, it is necessary to consider its "external" functions implemented in the process of influencing the audience (listeners).

The artistic team includes viewers (listeners) in artistic and aesthetic activities. On this basis, viewers (listeners) become active participants in the artistic process. Together with the author (and performers), they aesthetically experience the events and phenomena embodied in the work, strive to understand and comprehend them. Therefore, the artistic team performs the functions of involving viewers (listeners) in artistic and aesthetic activities and communication that occur in the process of their interaction with works of art.

The team of artistic creativity also acts as a propagandist and agitator: in the form of art, it spreads and affirms artistic and aesthetic ideals and values.

The propaganda function of the collective is expressed in the fact that each performance of a participant - a soloist, a singer or a group of participants - as part of a performance, choir, dance ensemble, etc. is aimed at disseminating and affirming advanced aesthetic ideals, values and ideas.

The propaganda function contains the moment of inducing the audience (listeners) to active aesthetic actions. The performances of the participants are designed to form in them the desire to create "according to the laws of beauty." The agitation function is also manifested in the fact that the spectators (listeners) involved in aesthetic activity and communication perceive the participants as their colleagues in study, work, military service, whose example they can follow. They develop a readiness for aesthetic activity, while it can be different in terms of awareness, stability, depth.

Art groups perform another function - educational. It deepens the audience's ideas about events and phenomena, introduces them to unknown facts, broadens their cultural horizons and develops cognitive abilities.

In unity with the educational function is the educational function. This is manifested in the selection and performance of the most relevant repertoire from the point of view of the ideological and artistic requirements of society, as well as in such an artistic and figurative disclosure of the concept of the work, which effectively influences the audience, shaping their moral and aesthetic feelings, ideas, ideals and tastes. The performances of the creative team awaken artistic and aesthetic activity and independence in the audience (listeners), mobilize their artistic and creative potential. Spectators not only actively relax and have fun, receive a certain amount of knowledge and impressions, acquire valuable personal qualities, but also become co-authors and co-creators of beauty themselves. All this contributes to the formation of the aesthetic development of the viewer (listener), who deeply creatively experiences what he has seen and heard and subtly feels the beauty.

The artistic creativity team organizes, manages and manages the processes of involving spectators (listeners) in artistic and aesthetic activities and communication, recreation and entertainment, carries out artistic and aesthetic propaganda and agitation, promotes the education, upbringing and development of spectators (listeners). Thus, we can say that the functions of organization, leadership and management are inherent in artistic creativity.

Thus, the team of artistic creativity has interrelated "internal" and "external" functions, the implementation of which is the ultimate goal of all its activities and a prerequisite for its further improvement.

Team types

Despite the variety of types and genres of artistic activity, all collectives can be conditionally attributed to several qualitatively different levels or stages.

The first stage includes those groups - vocal, choral, drama, circus, dance, film and photography amateurs, visual and applied arts etc., which accept everyone who wants to engage in artistic activities. Such collectives can be called collectives (circles) of the initial type. The composition of their participants can be either homogeneous or mixed in terms of age, education, professions, gender. Often, members of circles of this type are those who study or work together in the same educational institution - a school, a vocational school, a secondary specialized or higher educational institution, at the same enterprise, institution, in the same workshop, department, brigade, department of a collective farm, state farm , military unit, etc.

The educational and educational tasks of such a team include acquaintance with works of art, relatively simple, learning and performing them, as a rule, in front of “their” spectators, who most often know the participants. At the same time, a certain attention is paid to mastering the elementary foundations of the analysis of works, the means and methods of their performance.

With the accumulation of artistic and aesthetic experience, the circle members, under the guidance of a teacher, gradually move on to the implementation of more complex educational and artistic and propaganda tasks, it becomes possible for them to achieve higher artistic results. The artistic and pedagogical activity of the circle members is an important means of manifesting their social activity (participation in thematic evenings, lectures and conversations).

From among the most active and those who have shown a penchant for a certain type of artistic activity, a group of participants is gradually formed, for whom artistic pursuits become a serious hobby. Prerequisites are being created for the formation of an artistic group of the second stage. It can be conditionally called a collective (circle) of an increased type. In such groups, more complex educational problems are solved. artistic tasks. They are attended by amateurs who have shown artistic abilities and strive to improve in the field of leisure in their favorite form of artistic creativity. Unlike primary-type circles, in such groups more attention is paid to artistic training exercises, the study of the foundations of history and theory of the art form, the artistic and performing repertoire becomes more complex and the demands for its ideological and artistic embodiment and performance in front of the audience (listeners) increase. Greater attention is paid to various forms of artistic propaganda in a higher-type team: performances not only in front of “their own” audience, but also in front of those who do not know the participants, as well as field trips with creative reports, participation in factory-wide, district, city, institute-wide concerts and exhibitions , competitions, etc. The leader of such groups must have such a professional and pedagogical qualification that he can awaken and support the persistent aesthetic aspirations of the participants, create opportunities for their education, development and raising the level of ideological and artistic performance of works.

Along with those named, there are also groups that can conditionally be attributed to the third stage - these are amateur theaters, ensembles folk dance, orchestras, choirs, etc. They learn and perform repertoire that requires a relatively deeper understanding of works of artistic culture. Educational and educational work in such groups acquires the character of systematic classes, which study the profile type and genre of art, technical and means of expression etc.

In the presence of appropriate conditions, the complication of the types of educational and artistic activities entails a change in the teaching staff. In this case, the head of the team is the artistic director, who provides general artistic and pedagogical guidance.

The artistic director of such a team should be a highly qualified person who has special training in the field of not only the profile type and genre of art, but also history, art criticism, art criticism, aesthetics, pedagogy and psychology.

In such groups, two levels can be distinguished, as it were. First level- these are beginner groups that have a relatively short history of their artistic life and solve ideological, artistic and educational tasks of medium complexity. Second level n - these are groups that have accumulated a lot of artistic and performing experience and consist of participants who have gone through a good school of stage and artistic training. Often, for example, in the same dance ensemble, one of the primary groups can be of the first level, and the other of the second. In each of them qualitatively different is built
educational process, creates its own artistic
repertoire corresponding to the possibilities and abilities of his
participants.

The division of teams, of course, is more conditional. But it is necessary, because it opens up opportunities for a differentiated approach to each of them. Collectives of the highest form, such as folk theaters, orchestras, choirs, dance ensembles, are methodological centers for collectives (circles) in rural clubs and houses of culture.

As you know, for high performance in ideological, artistic and educational work, the best teams receive the honorary title of folk. They are beacons; members of other teams measure their successes with their achievements. The best teams become laureates of district, regional (territorial), republican, all-Union and international competitions of folk art. Their programs are broadcast on local, central television, recorded on records by the Melodiya company.

Circles of the primary type are often headed by social teachers, collectives of the first and second stages are most often leaders with secondary specialized training, who have graduated from cultural, educational, musical, theater school etc.

Teams of the third stage (first and second levels), as a rule, are headed by leaders with higher specialized or secondary specialized education, who have extensive experience in artistic and pedagogical work.

A further increase in the requirements for the ideological and artistic level and performing skills of the participants calls for new organizational forms that would create the best opportunities for an in-depth study of art, mastering a complex arsenal of technical and artistic-figurative means. Therefore, along with the existing and developing forms of artistic groups, studios are being created.

Studios have their own history of development, being specific form training, education and upbringing by means of art. They arise on the basis of the desire to qualitatively improve the ideological and artistic preparedness of the participants.

Unlike the previously considered groups, the studios are special educational and artistic institutions. In them, according to a special program, they study the basics of the theory and history of the specialized art form, great attention is given to classes on mastering performing and practical skills.

The studios carry out educational and artistic, creative search and artistic and performing activities. If we turn to the analysis of the diverse practice of their work, then among them we can conditionally distinguish a number of types.

First view- these are studios in which participants, under the guidance of a teacher (teachers), study the basics of the chosen art form, form the moral and aesthetic principles of artistic activity and intra-collective life. Quite often, such studios are created with groups in which the main emphasis is on performing activities. Such studios are designed to help groups prepare participants for their main composition.

To the second can be attributed to studios, which, in addition to teaching and educational work, also conduct a large performing activity. As they accumulate artistic experience, they demonstrate interesting stage solutions, which are characterized by a fairly high level of performing skills, general and artistic culture.

Third view- these are studios in which creative search activity is leading. They set as their goal the aesthetic and moral education and development of the participants, raising the ideological and artistic level of the performance of works, creative search in the artistic and figurative solution of compositions. Similar studios actually become creative laboratories and workshops: they work on new works of art. The studios acquaint the audience with the search and achievements in the field of a certain type and genre of art, demonstrate a fairly high level of performance of the repertoire of increased complexity. The students are often widely involved in various forms of artistic propaganda and agitation activities. As a rule, they are headed by professionally trained teachers. Studios of the third kind are often run by prominent figures in the professional arts.

K. S. Stanislavsky belongs to a detailed description of the purpose of the studio as a center of creativity and education of students.

“The studio is the initial stage where people should be gathered, who are quite consciously aware that the whole life of a person is his own creativity ... “The studio is not a place for random passing of roles. One cannot come here with a desire at such and such a time or for such and such a need, dictated by random circumstances, to play this or that role ... A student is one who sees his life's work in his art, one for whom the studio is family ... Entering the studio, he should enclose himself in a circle of beauty, lofty, pure thoughts about his work and rejoice that there is a place where he can unite with people who strive for beauty like himself.

A student is that development of human consciousness, where the idea of love for art, becoming a guiding principle, awakens mutual respect and goodwill in everyone.

"A studio is not only a house of culture for a person entering it, it is also a house of a wise teacher, where love protects both sides - teacher and student...".

One and the same studio can be a team consisting of several primary teams, each of which can be attributed to different types. So, for example, in a children's amateur choral studio, there are most often junior, middle and senior groups of the choir. In fact, schoolchildren are engaged in the studio different ages and different musical preparedness in three choirs, gradually "passing" from one to another.

In relation to other amateur art groups of the same type and genre of art in the region, the city, the studios are creative laboratories and workshops, they become methodological centers for the dissemination of advanced experience in educational and artistic and creative work.

Thus, the development of artistic creativity goes along the lines of not only the differentiation of forms, but also the integration of various types and genres of art and the formation of complex forms of an artistic group, in which conditions arise for the implementation of more complex tasks. aesthetic education and achieving a higher level of performance.

Consider now collective classification on other grounds.

According to the composition of the participants, mixed and homogeneous teams can be distinguished. In mixed classes, participants of different ages are engaged, for example, from schoolchildren to pensioners, various education and professions. These are dramatic, vocal, choral and orchestral groups, groups of fine and applied arts. In homogeneous groups of the same types of art, participants of the same age participate. These forms are characteristic of vocational schools: they are predominantly attended by first-year students.

Amateur groups can also be classified according to the leading type of educational or professional activity of the participants. Then we distinguish between amateur performance groups consisting of pupils and students - amateur performance of educational institutions (school, vocational, secondary special and higher), from people of one or a number of related professions - amateur performance of school teachers, secondary, higher educational institutions, builders, machine builders, textile workers etc. Mass forms of organization are amateur art groups - vocal, choral, dance, artistic reading etc.

It is also necessary to distinguish between amateur art groups of a large, medium and small city, town, village.

Depending on the nature of the organization of educational and performing activities, artistic creativity can be individual and group. Often individual training is combined with group forms of training. In groups of vocal, artistic reading, button accordion and accordion, and in a number of others, the individual form of work with participants is leading. In drama, dance, and choral ensembles, educational and performing activities are carried out mainly in group and collective forms, but individual forms of classes are also assumed.

According to the duration of functioning, it is necessary to distinguish between temporary and permanent groups of artistic activity. Temporary ones are created in rest homes, sanatoriums, pioneer and sports camps, boarding houses, bases recreation and tourist bases. Permanent ones last a long time.

In a club establishment of one production team, an educational institution, teams of various levels often interact - from elementary-type circles to studios and theaters.

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Amateur art - non-professional artistic creativity of the masses in the field of fine and decorative - applied, musical, theatrical, choreographic and circus arts, cinema, photography, etc. Amateur art includes the creation and performance of works of art by the forces of amateurs performing collectively or alone.

Collective of amateur performances - creative association lovers of one of the art forms, working on a voluntary basis at clubs or other cultural institutions. Collective initiative has a number of features. This is the presence of a single goal, leaders, self-government bodies, as well as a combination of public and personal aspirations and interests of members of an amateur collective.

The essential features of amateur art: voluntariness of participation in an amateur group, initiative and activity of participants in amateur art, spiritual motivation of participants in amateur art, functioning of amateur art in the field of free time. Specific signs of amateur creativity: organization, the lack of special training for activities among participants in amateur performances, a lower level of activity than professional teams, gratuitousness, etc.

"Amateur creativity is a unique socio-cultural phenomenon, with a multi-type and multi-functional structure, which has the properties of leisure and artistic culture. As you know, leisure is a part of free time aimed at personal development, used for communication, consumption of values of spiritual culture, entertainment, various types of unregulated activities that provide recreation and further development personality." (Murashko) "As part of free time, leisure attracts young people with its unregulated and voluntary choice of its various forms, democracy, emotional coloring, the ability to combine physical and intellectual activity, creative and contemplative, production and play. For a significant part of young people, social institutions of leisure are the leading areas of socio-cultural integration and personal self-realization.

Amateur art plays a big role in aesthetic education. By joining art, a person develops his ability to perceive and appreciate the beautiful, raises his cultural level, develops spiritually. "Choreographic amateur groups, performing tasks aesthetic formation individuals, serve the cause of mass education and upbringing. These tasks are solved by means of the art of dance. "The formation of an active, spiritually rich personality is the goal of an amateur theater." The above can rightly be attributed to any other type of amateur creativity. Whether it is singing, composing or performing music, participating in circus performances, the creation of objects of fine and decorative art, all this contributes to the development of the intellectual and general cultural level of the individual.

"Amateur art ... is not only a school of artistic mastery proper, but - perhaps even more important - a school of life, a school of citizenship. In other words, awakening to active artistic activity and developing one's abilities, a person does not simply assert himself in art, but, above all, asserts itself as a member of society, whose activities and whose talent are socially necessary and useful.

Participation in an amateur team develops a sense of responsibility. A person strives to perform the assigned tasks with high quality, not to let other members and team leaders down. Voluntary, without any coercion, attending classes and participating in concerts (performances, festivals, competitions, exhibitions, etc.) helps to raise the level of self-discipline.

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Introduction

Life modern man multifaceted and varied in its manifestations. How a person rests largely determines his well-being, health and, ultimately, his performance. The high rhythm of life, the flow of impressions and various information have a direct impact on the nature of recreation, the way of using free time, on the tastes and needs of people, their aesthetic needs. That is why among the important elements of leisure, an essential place is occupied by amateur art. There will always be a place for this kind of occupation in schools, secondary and higher educational institutions, at enterprises, in Palaces and Houses of Culture, in rural clubs, etc.

The need for communication, self-expression, the desire to participate in public life, the desire to join art, encourages many people of different ages to participate in amateur performances. Amateur creativity is diverse, everyone can choose the kind that he likes. One is close to mobile and energetic activities in dance group, others - a calm and unhurried creation of objects of arts and crafts.

The main task of amateur performance is to develop social activity and creative potential of the individual, organize various forms of leisure and recreation, create conditions for full self-realization in the field of leisure.

The purpose of the course work is to study the essence and specifics of amateur art.

get acquainted with the history of the emergence and development of amateur performances;

reveal character traits amateur creativity, its features, similarities and differences with authentic folklore and professional art.

to study the features of the development of amateur art in Belarus at the present stage;

The object of the work is amateur (amateur) artistic creativity.

The subject of the work is the history of formation, structure and current state of amateur art.

The methodological basis of the study was the work of the following authors: L. Emelyanov - "Modern amateur art and problems of folklore", L. Kogan - "Art and we", L. Futlik "Education by creativity", A. Karagin - "Educational work in an amateur team" and others.

Research methods - comparative, inductive, deductive, synthesis and analysis of literature on the research topic.

Course work includes: title page; content; conducting; 3 chapters; conclusion; bibliographic list.

The first chapter is devoted to the history of the emergence, formation and development of amateur performances. In the second chapter, the concept of amateur art is considered, a comparison is made with folklore and professional art. The third chapter analyzes the state of amateur art in Belarus at the present stage. In conclusion, the results of the considered topic are summarized.

1. The emergence and development of amateur art

1.1 The emergence of amateur art in the depths of folk art culture

Since ancient times, man has sought to express his personal worldview through dance, drawing, song and much more.

"Dance is one of the most ancient and popular types of art. It reflects the social and aesthetic ideals of the people, their history, labor activity over the centuries, way of life, mores, customs, character. The people create in dance an ideal image to which they strive and which affirms in an emotional artistic form.Artistically reflecting reality, the dance conveys the worldview of the people, its modern idea of beauty is one of the main features of folk dance.It reflects the modern understanding of reality by means of a long-established dance language, accessible, understandable to the people, loved them.The content and expressive means of folk dance are constantly evolving in accordance with the changes taking place in life.The history of the art of dance goes back to hoary antiquity.At the dawn of its existence, mankind discovered ways to express thoughts, emotions, actions through movements.Dance is silent.There is no the word sounds, but the expressiveness of the plasticity of the human body and musical rhythms and melodies turn out to be more powerful, and therefore the dance language is international and understandable to everyone."

Along with folk dance, singing, arts and crafts, and other types of creativity developed. "The energy of creation, the need for beauty ... manifested itself in art crafts, in the richness and richness of everyday culture"

There were circles of lovers of dance, music, poetry and many other types of art and folk art, but, as history shows, their fate was short.

1.2 Retrospective of the development of amateur art

In the first years of the formation of Soviet power, any kind of cultural institutions, especially informal ones, were destroyed. But the need to form a "new man" - the builder of communism, made it necessary to search for new forms of influence on the consciousness of the younger generation. The leaders of state and party authorities saw in the development of amateur performances a powerful lever not only to increase cultural life people, but also educating them in the spirit of "communist ideals". On the basis of urban folklore and everyday amateur artistic practice, a new form of creativity was formed, which differed from the previous ones primarily in its organizational design, genre definition, and the presence of social goals and objectives. Initially, it was a period of spontaneous emergence and germination of the sprouts of amateur art in the depths of the existing forms of urban artistic culture. Gradually, the existing genres of urban folklore, amateur creativity were transformed, they took professional art as a model - theater, choir, instrumental performance. There were amateur amateur art education. Amateur groups arose at clubs, houses (palaces) of culture, factories, plants, educational institutions, military units, collective farms, state farms, transport, etc.

By the mid 30s. amateur art has reached a high ideological and artistic level. Many masters of professional art took patronage over amateur groups. In the 30s. in various union and autonomous republics, amateur national choirs, song and dance ensembles, circles of fine and applied arts have become widespread. Since the end of the 30s. the repertoire of theater groups began to include best plays Soviet playwrights, classical works. To guide amateur performance and help it, the Central House of Amateur Art was created, which was transformed in 1936 into the All-Union House of Folk Art (since 1939 - named after N.K. Krupskaya), and in 1958 - the Central House of Folk Art (TsDNT). In the 1940s houses of folk art are organized in all republics, territories and regions.

During the Great Patriotic War the main place in the repertoire of amateur performances was occupied by the military-patriotic theme. A lot of work was done to service the front, hospitals, defense industry enterprises, etc.

Amateur art in its modern sense reached its highest peak after the Patriotic War during the period of patriotic upsurge, when former front-line soldiers came to the leadership in many areas of art, who had something to tell and create in art.

The Soviet government created all the conditions for the development of folk art. "Thanks to the leadership of the Soviet government in the middle of the 20th century, the culture and art of the country flourished. One of the components of the great work in the field of cultural construction was amateur art." During these years, it assumed an unusually wide scope. Tens of thousands of choreographic circles appeared in schools and clubs with millions of participants in them. There were special methodological centers for the management of amateur art. "The All-Union Review of Amateur Art, held in 1951, is a clear evidence of success in this area." From the end of the 50s. the most mature amateur groups received the title of folk theaters. In addition to dramatic, they also work musical theaters- opera. Various amateur ensembles, orchestras, circus and variety groups, and choirs have become widespread.

In the 1970s and 1980s, annual amateur art reviews were held. In 1975, the first All-Union festival of artistic amateur creativity of working people took place. Amateur art also gained wide scope in other countries, where favorable conditions were created for the development of amateur art.

The mass development of amateur performances has revealed many talented performers and directors. A large number of professional teams were created. Among them are famous folk dance ensembles, song and dance ensembles, Russian folk choirs, of which dance groups are an integral and integral part.

Amateur art continues to live today. The tasks of modern amateur art are - holding citywide holidays, mass festivities. The program for the development of culture includes the stimulation of folk art, the development of amateur art.

2. The essence, specificity and features of amateur art

2.1 Amateur art: definition and features

Amateur art group - a creative association of lovers of one of the art forms, working on a voluntary basis at clubs or other cultural institutions. Collective initiative has a number of features. This is the presence of a single goal, leaders, self-government bodies, as well as a combination of public and personal aspirations and interests of members of an amateur collective.

"Amateur creativity is a unique socio-cultural phenomenon, with a multi-type and multi-functional structure, which has the properties of leisure and artistic culture. As you know, leisure is a part of free time aimed at personal development, used for communication, consumption of values of spiritual culture, entertainment, various types of unregulated activities that provide recreation and further development of the individual. (Goosebumps) "As part of free time, leisure attracts young people with its unregulated and voluntary choice of its various forms, democracy, emotional coloring, the ability to combine physical and intellectual activity, creative and contemplative, production and play. For a significant part of young people, social institutions leisure are the leading areas of socio-cultural integration and personal self-realization."

Amateur art plays a big role in aesthetic education. By joining art, a person develops his ability to perceive and appreciate the beautiful, raises his cultural level, develops spiritually. "Choreographic amateur groups, performing the tasks of aesthetic formation of the personality, serve the cause of mass upbringing and education. These tasks are solved by means of the art of dance" "The formation of an active, spiritually rich personality is the goal of an amateur theater." Fairly, the above can be attributed to any other type of amateur creativity. Whether it is singing, composing or performing music, participating in circus performances, creating objects of fine and decorative art, all this contributes to the development of the intellectual and general cultural level of the individual.

Amateur art can be considered as a socio-pedagogical value, carrying out a system of functions: information and cognitive; communicative; social, containing in the artistic product ethical values, norms, ideals characteristic of different historical periods of cultural development, thereby ensuring continuity, the ability to transmit it from generation to generation; aesthetic, because it carries the idea of beauty in the life of society, in everyday life, in language, plasticity, forms; educational, contributing to the development and change of spiritual values and needs of the individual.

Through the forms of amateur performances, folklorism and professional art, their performers, aesthetic norms, technical methods, etc., interact to a large extent.

2.2 Amateur art and folklore

The people have always created wonderful artistic values. Along with professional art, folk art lived - unnamed "folklore". Folk songs, fairy tales, legends, proverbs have been and remain an inexhaustible source of inspiration for professional artists.

There is no doubt that amateur art came out of folklore. Until the middle of the 20th century, there was no such distinction between these concepts. "Does amateur performance belong to the field of folklore - such a question was not posed, and in fact could not be posed, because folklore and folk art were completely identical concepts. Therefore, in the folklore collections of the 30-50s, along with the actual folklore materials, we can also find quite a few songs composed in amateur groups.In the view of folklore at that time, all these materials were equally facts of folk art, without any additional qualifications.The only thing that was required from a work in order for it to fall into the sphere of folkloristic attention , is a coincidence in some moments of a creative ("traditional") or technical (collectivity, anonymity, "polishing") order with works of classical folklore. If such a coincidence was evident, then there were no other doubts about the folklore of the work in question and could not arise.The whole question, therefore, consisted only in identifying some specific features in amateur performances that would make it possible to bring it closer to folklore.

Over time, the concepts of "folklore" and "amateur art" have become more distinguishable.

The main thing that distinguishes amateur performance from folklore is organization. Self-activity is "a form that presupposes not only the presence of creative moments in general, but also certain means of organization." Folklore, "also being a manifestation of primary creative aspirations, arises, however, spontaneously," unplanned "and for this reason alone does not imply any preliminary organization. In other words, no one can foresee the emergence of a folklore work. Each time one has to reckon with it as a fact, accept it or reject it, but it is impossible to foresee when and by whom it will be created, to which side of reality it will be directed - this cannot be done under any circumstances. Therefore, it is impossible to imagine an organization or organizations whose task would include, say, the education of folklore personnel, the study of the creative needs of folklore authors, and the management of the development of folklore, while similar tasks in relation to amateur performances are not surprising to anyone.

Folklore creates works of art. Amateur performance is associated with both creation and performance, while works of both folklore and professional authors can be performed. If the authors of folklore, as a rule, are unknown, then in amateur performances we know both the authors and the performers.

2.3 Amateur art and professional art

It can be seen that amateur art repeats the types and genres that exist in professional art. This feature allows you to creatively borrow the methods of work and the educational process, and to a certain extent, the repertoire of professional performers and groups. The stages of approaching amateur art to professional art can be different.

Before each amateur collective, as well as before each of its members, the prospect of creative growth is open. It lies in the fact that, having reached a sufficiently high level of skill, a team or person is widely recognized, and their further work is largely professionalized. Many professional drama and musical theaters and ensembles have grown up on the basis of amateur performances. At the expense of talented participants in amateur performances, the largest professional teams are replenished.

And yet the main purpose of amateur performance is different. It provides an opportunity for creative self-expression, manifestation of oneself in an interesting form of art to those people who, for whatever reason, could not or did not want to do it professionally. Amateur art does not require a certain level of ability or prior training from its participants. It is available to almost everyone.

Choice creative activity participation in this or that collective is exclusively voluntary and driven primarily by the interests of the participants themselves.

If professional art can be called work, then amateur performance is gratuitous. People are attracted not by the material benefit from doing one or another type of creativity, but by participation itself, the pleasure derived from the creative process.

3. Amateur art in Belarus: state, problems, prospects

The necessity of art and the indispensability of artistic creativity is obvious. The main social value of culture and art is that they are mechanisms for regulating society. And now, more than ever, we need a manifestation of creative initiative, a real initiative of the population.

Folk art is the most important layer of our national culture, its basis, without which the formation of national consciousness and the development of professional art is impossible.

"The mass character inherent in amateur creativity allows it to be the basis of the cultural life of the Belarusian people, the bearer and indicator of its potential in cultural activities. Today, this strong social and artistic movement unites more than 500 thousand people in its ranks, participating in 30 thousand art groups different types, genres, forms".

The main role in the structure of the folk art of Belarus is currently played by amateur art. Its history spans more than one decade. On the way of its development, amateur performances were formed both structurally and in content. Currently, it is represented by amateur choirs and chapels, theaters and dance ensembles, instrumental musical groups and circus studios, hobby clubs and workshops.

"The most widespread in the republic is the vocal-choir genre of amateur art, which has about 10 thousand groups." Amateur choirs sing in vocal ensembles, folk, academic, folklore and pop groups. There is an active development of amateur choirs with a folk style of performance. A place of honor among the choirs is occupied by veteran groups.

A number of positive changes are also taking place in the instrumental genre. Amateur symphony and pop-symphony orchestras appear, which testifies to the high performing skills, musical taste and professional training of amateur artists. Thanks to schools with a musical bias, many children's instrumental groups appeared, supporters of folk music.

A very bright palette of theatrical and dramatic amateur performances of the republic. "Today, its structure includes 188 drama theaters, puppet theaters, miniatures, games, pantomime, etc., which have the titles of "folk", "exemplary"".

The movement of national-cultural revival significantly enriched the repertoire of amateur groups, including dance groups. The performances of folk stage groups are becoming brighter and more colorful, becoming more interesting both lexically and thematically. "The repertoire of many choreographic groups consists of 65% Belarusian works. According to official statistics, there are about 4,000 choreographic groups in the republic."

The artistic and performing level of the collectives is increasing, the repertoire includes original works. And, as a result, - access to the capital's stage, to state-level events, participation in prestigious international festivals and competitions. Amateur artists of Belarus visited almost 100 countries of the world, representing their republic and its culture.

According to research, statistics and practical observations, there are numerous internal processes in the body of folk art, which cannot but affect the prospect of its development.

First, recently there has been a tendency to reduce the participation of the population in amateur performances, especially adults. Secondly, due to a number of objective reasons, the organization of performances by amateur artists becomes more difficult. However, the importance of amateur performances as a complement to professional art in the regions, in rural areas has great importance in terms of organizing cultural services and aesthetic education of the population. Thirdly, the age structure of amateur club activities is changing: there is a shift in indicators towards children's amateur activities. It is clear that this fact can be regarded as positive, since one of the urgent problems related to the moral recovery of society and its future is the search for optimal options for organizing the free time of the younger generation. "More than 10,000 different club formations for children and youth work in the cultural institutions of the republic, uniting more than 100,000 people."

There are different dynamics in the development of rural and urban amateur performances. In the city, the situation looks more pleasant. There are certain changes in the genre structure of club amateur performances. The idea of a national cultural revival stirred up the creative energy of folk art: interest in folklore, folk traditions, stage costumes, and the search for and creation of a new repertoire increased. Folklore groups of non-stage orientation, non-traditional for amateur performances, numerous vocal and instrumental ensembles, rock groups, studio theaters, etc., appeared.

The development of the mass media, the increase in the level of education, the processes of urbanization have somewhat reduced the importance of the cultural and educational function of amateur performances. But on the scale of society, such functions of amateur performance as the development artistic ability, the formation of certain personality traits, even its correction. Thus, folk art today is more focused on the individual. Setting on self-realization, self-organization, on relationships with like-minded people - this is the modern functional load that falls on amateur performance.

An equally important function of amateur social creativity has recently become the organization of free time and the life of various groups of the population. The problem has become urgent: how to make recreation diverse, how to use the available mass cultural material for this, make life aesthetically attractive, decorated according to artistic canons and with the participation of one's own creativity. Now there is a process of mutual enrichment, competition of various types of artistic creativity, forms of their implementation, struggle for "one's own" participant, etc.

It is very important to timely see and use the opportunities inherent in the nature of various types of art and organizational and creative forms of amateur activity, to put them at the service of the aesthetic and moral education of children and youth, and other categories of the population. In practice, there is still a "nostalgic" mood: the desire to preserve and develop, first of all, traditional, long "mastered" types of amateur performances. The whole structure of amateur artistic creativity is becoming more complex today, and the task of cultural bodies and institutions is to determine their role and their place in these processes.

Conclusion

Artistic and aesthetic values act as part of the spiritual culture of the people, designed to satisfy and elevate the various needs of man. The basis for the development of spiritual culture since time immemorial has been amateur art.

The close attention of scientists to the amateur art of the people as an ethno-cultural phenomenon began to be observed from the 19th century. However, the active development of amateur art belongs to the second decade of the twentieth century.

There are several stages in the development of amateur art.

The first stage (1917-932). During this period, the development of amateur performance had its own characteristics. There was a rethinking of pre-revolutionary amateur creativity, a movement towards its new forms, enrichment of their content; searched for new ways of working. Leading musical genres in amateur art there were brass and folk orchestras, folk and academic choirs.

Second stage (1933-1960). Fundamental changes took place in the development of amateur creativity: a system of state and public leadership of amateur performances and training of personnel was formed. With the advent of large-scale industry, the rapid construction of basic houses and palaces of culture began, where thousands of workers and employees worked in artistic groups, and the material conditions for the activities of circles changed.

Third stage (1960-1991). There was a qualitative increase in the performing level of amateur groups, many creative associations received the title of "People's". The number of participants involved in amateur art has increased. New genres of amateur art appeared - author's singing, vocal and instrumental ensembles, studios of academic vocal singing. In 1977 and 1987 All-Union festivals of amateur artistic creativity were held.

The fourth stage (from 1991 to the present). There has been a crisis in amateur creativity, associated with a change in the state and social system in our country. Many production teams that have houses and courtyards of culture refuse to finance them (including material support for creative teams) because of the difficulties associated with the transition to new forms of management.

The transformation of the political, economic and social systems could not but affect the socio-economic environment for the functioning of culture. On the one hand, today the most important social institutions of "broadcasting" the heritage of culture are professional creative teams theaters, public and private concert associations, mass media - radio, television and much more. On the other hand, a significant place in the preparation and transmission of "products" of culture is still occupied by amateur creative associations of palaces and houses of culture.

It should be noted that at this stage in the development of our society, the amateur artistic creativity of the working people has changed qualitatively. If for a long time the main thing was the promotion of art by means of amateur performances, now its basis is the satisfaction of the artistic and aesthetic needs of a person, personality, the need for self-expression, familiarization with cultural values.

In the work of amateur groups, the function of developing abilities, forming personal qualities and a specific personality, and strengthening the aesthetic aspects of education is becoming increasingly important. A new defining function is the attitude towards self-organization, self-orientation, relationships, the search for one's own "I".

In the field of amateur art, there is a parallel development of creative directions, types, genres, based on different traditions and in connection with different levels of artistic activity - professional, everyday, classical, folklore, mass, elite, avant-garde, etc.

Amateur art occupies an important place in the culture of our country. The Ministry of Culture of the Republic of Belarus has developed the Regulations on the amateur group of artistic creativity, which determines the basic principles of activity, the conditions for the creation and functioning of non-professional groups of artistic creativity and folk crafts. The main goals of the activity of the amateur collective are:

restoration, preservation, development and dissemination of the Belarusian traditional culture;

attracting the population to the cultural traditions of different regions of Belarus, the traditions of domestic and foreign culture;

the creation, preservation and dissemination of cultural values and the wide involvement of various social groups of the population in the work;

popularization of works that have received public recognition;

the acquisition of knowledge and skills in various types of artistic creativity and the harmonious development of the creative abilities of the individual, the creation of conditions for its self-realization;

organization of free leisure and satisfaction of the cultural needs of citizens.

State bodies, together with trade unions and other public associations, create a system of social, organizational, legal and economic guarantees for the creative activity of an amateur collective, and republican, regional and district methodological centers of folk art provide methodological assistance. An amateur group has the right to carry out concert, theatrical, exhibition activities, participate in festivals, reviews, competitions and other cultural events, participate in the implementation of social and creative orders.

The following conditions are necessary for the preservation and development of amateur artistic creativity:

study and use in the practical activities of cultural institutions of historical and cultural traditions;

the formation of stable interests in various forms of artistic creativity among members of amateur associations, as well as various groups of the population not involved in active forms of amateur artistic creativity;

updating the content of the activities of amateur associations, interest clubs based on the development of initiative, active amateur performance of the population and other forms of activity (including the establishment of creative contacts in joint pastime).

"Amateur artistic creativity is a bright phenomenon of the Belarusian national culture. It reliably and carefully preserves the spiritual heritage of the people. aesthetic development. We can be proud of the achievements of Belarusian folk art. And we must do everything so that this valuable spiritual storehouse of the Belarusian people is replenished every year and contributes to the development of our society."

I would like to hope that amateur artistic creativity will not lose its relevance in the future, will develop, expand, take on new forms, and contribute to the cultural development of the individual and society.

Bibliographic list

1. Baklanova T.I. - Amateur artistic creativity in the USSR. Uch. allowance. M., 1986.

2. Belyanskaya L.B. - I want to go on stage. Donetsk, Stalker, 1997.

3. Vanslov V.V. - Comprehensive personal development and arts. M., Art, 1963.

4. Vasilenko V.P. - Amateur art and folklore. M., 1979.

5. Vishnyak A.I., Tarasenko V.I. - Culture of youth leisure. Kyiv, Higher School, 1988.

6. Volkov I.P. - Creativity education. M., Knowledge, 1989.

7. Volovik A.F., Volovik V.A. - Pedagogy of leisure. M., 1998.

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9. Demchenko A.K. - Possibilities of Russian leisure, M., Club, 1996.

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11. Emelyanov L.P. - Folklore and amateur performances. L., Nauka, 1992.

12. Ignatiev I.A. Amateur art as a factor in introducing members of the production team to artistic and aesthetic values. Abstract dis. cand. ped. Sciences: 13.00.05. / I.A. Ignatiev; Chel., 2005.

13. Kargin A.N. - Educational work in an amateur team, M, Education, 1984.

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2. The essence, specificity and features of amateur art

2.1 Amateur art: definition and features

"Amateur creativity is a unique socio-cultural phenomenon, with a multi-type and multi-functional structure, which has the properties of leisure and artistic culture. As you know, leisure is a part of free time aimed at personal development, used for communication, consumption of values of spiritual culture, entertainment, various types of unregulated activities that provide recreation and further development of the individual. (Goosebumps) "As part of free time, leisure attracts young people with its unregulated and voluntary choice of its various forms, democracy, emotional coloring, the ability to combine physical and intellectual activity, creative and contemplative, production and play. For a significant part of young people, social institutions leisure are the leading areas of socio-cultural integration and personal self-realization."

Amateur art plays a big role in aesthetic education. By joining art, a person develops his ability to perceive and appreciate the beautiful, raises his cultural level, develops spiritually. "Choreographic amateur groups, performing the tasks of aesthetic formation of the personality, serve the cause of mass upbringing and education. These tasks are solved by means of the art of dance" "The formation of an active, spiritually rich personality is the goal of an amateur theater." Fairly, the above can be attributed to any other type of amateur creativity. Whether it is singing, composing or performing music, participating in circus performances, creating objects of fine and decorative art, all this contributes to the development of the intellectual and general cultural level of the individual.

Through the forms of amateur performances, folklorism and professional art, their performers, aesthetic norms, technical methods, etc., interact to a large extent.

2.2 Amateur art and folklore

Over time, the concepts of "folklore" and "amateur art" have become more distinguishable.

2.3 Amateur art and professional art

The ongoing organizational processes in the field of artistic creativity have a direct impact on the formation of a person's inner worldview. Awareness of the role of the creative cultural potential of folk art culture, musical pedagogy and the prospects for using such experience in modern cultural practice sets the task of creating conditions for a significant transformation in all spheres of public life.

Creative search, non-standard approach to the problem of development and formation of talent can generate interest in artistic activity. This predisposition to creativity lies in the very nature of man. Therefore, the 21st century defines many tasks in the organization of a purposeful and systematic pedagogical process for the formation and development of the creative potential of the individual, both among the urban and rural populations.

The variety of forms of amateur creativity, types and genres raises before art theorists the problem of classifying its offshoots from established types of orientation. These types include: professional art, folklore and amateur art. In addition, “... an introduced classification is possible, uniting groups of genres on the basis of the unity of the nature of creativity. In some cases, this is amateur performance, representing a direct artistic and creative reaction of a person to reality; in others it is amateur performing, where the participant expresses himself through a specially selected repertoire of professional and amateur authors. Sometimes in amateur performances, the author and the performer are combined. E.I. Smirnova identifies two main categories of amateur performances:

1) amateur performance in the field of consumption of artistic culture;
2) amateur performance in the field of production of artistic values.

To the traditional types and genres of amateur art E.I. Smirnova says:

1. Musical art(choirs: academic, folk song; ensembles: vocal, song and dance; vocal-instrumental and brass bands; performing musicians and singers).
2. Theatrical art (musical and drama groups; theaters: a young spectator, puppets, poetry and miniatures; propaganda teams, artistic word groups).
3. Choreographic art (folk, classical, pop, sports, ethnographic and ballroom dance).
4. Fine and arts and crafts (teams: amateur painters, sculptors, graphic artists, masters of arts and crafts).
5. Circus art (groups of circus and original genre).
6. Film art (photo clubs, children's amateur film studios).
7. Technical creativity (modeling, radio electronics, clubs of inventors and innovators, etc.).

A.S. Kargin notes the modern aspects of amateur art with a stable genre-species structure, subdivided into folk and classical genres. He proposes to classify according to six criteria. These include: orientation towards the development of various layers of artistic culture; consideration of types of artistic performance, as well as types and genres of art. To this is added orientation by institutional affiliation and socio-demographic composition. A large role, in his opinion, should be given to identifying aspects of amateur creativity in the regions, the specifics of the development of existing forms, types and genres, and their new formation. Consequently, contemporary artistic creativity has synthetic, traditional and organizational-forming genres. The classification of amateur groups can be represented as follows:

Classical type (traditional): musical, theatrical, choreographic art, art

Each genre is represented by the author in different ways. For example, folklore types include: folklore theaters, groups of buffoons, puppeteers, etc. Folk singing groups have soloists, they are organized into ensembles: folk song, folklore. This includes folk choirs. Folk instrumental and folk dance also have soloists and ensembles: folk instruments, folk dance, etc.

Revealing the traditional classical type, one can imagine musical groups such genres and types as academic (choirs and ensembles), symphony and brass bands. Theatrical - folk theaters and new forms - musical theater, folk groups. Choreographic groups are dance art classical, ballroom, pop genre. Fine arts include studios of painting, author's design art (development of sketches, etc.). Genre-species diversity, which differs in types of creativity, has further development paths in amateur performances. Since the inclinations of creative perception are already laid in a person from birth, in the process of life, developing his abilities and using the experience gained, a person involuntarily contributes to the manifestation of neoplasms in amateur performance.

The opinions of researchers of amateur art have some differences in the definition of the classification of amateur art, activities and functions. So, for example, T.I. Baklanova notes the presence of several types of amateur creativity (author's, performing, improvisation and the creation of new "technologies") and activities that have an organizational, educational, artistic and personal basis (realization of the internal needs of the individual).

We are close to the position of E.I. Smirnova, who, depending on the goals and objectives of the activities of amateur art groups, classifies them according to the following main features:

1. By focusing on the main layers of artistic culture:
- - focused on ethnofolklore types of folk, national art (with an internal subdivision into types or forms of ethnofolklore cultural culture);
- - focused on the types, school and styles of professional (academic) art (with an internal subdivision into types and genres);
- - original, including types of amateur art activities that have no analogue or model either in professional or folk art.
2. By types of creativity and orientation to the main layers of artistic culture:
- - performing activities;
- - author's and author's and performing;
- - improvisational.
3. According to the degree of organization and the subject of the organization:
- - “unorganized”, “informal” or self-organizing amateur activity; artistic choreographic pop
- - amateur activity of unstable organizational forms (organized by the media, situational, etc.).
- - organized into stable associations of various types on the basis of various socio-cultural institutions, socially controlled and pedagogically directed.
4. By predominant type of activity:
- - associations of educational type;
- - associations of cognitive and artistic-research type;
- - art-propaganda and art-organizational associations;
- - game type;
- - creative;
- - associations of complex type with a wide range of activities.
5. By location:
- - rural amateur performances;
- - amateur performances of small towns (with a weak artistic and professional background);
- - amateur performances of a large city (with a strong artistic and professional background).
6. By age composition:
- - children's (younger school age, adolescents), youthful;
- - amateur performances of adults (youth, older age groups)

Creativity and the need for self-actualization are inherent in the very nature of man. However, amateur performance is an activity that does not lose the free manifestation of character in organized and unorganized forms, i.e. amateur creativity.

Many researchers in the field of artistic creativity note the advantage of unorganized amateur performance, spontaneous. In most cases, it quickly appears and disintegrates, and not many of them acquire an organized form of life creation ( educational activity, suggesting creativity; professional art; amateur art activity of the masses). Such creative activity has the highest form of man's manifestation of his creative powers and skills.

Relevant today is the task of optimizing unorganized amateur creativity, assistance in its organization, both in clubs and school, out-of-school institutions, at the place of residence. The activity of the individual, the team is manifested in the process of implementing their abilities and skills in various areas of creative activity.

In order to intensify the creative process in various associations, interest clubs and attract the largest number of participants, the organizer is obliged to creatively approach each individual. Trying to help find the personality of "themselves" in any role of positive activity, the leader needs to create a single creative ensemble in which it is easy to move from imitation to initiative.

Thus, in the participants of the "creative ensemble" of amateur artistic creativity, the foundations of the creative method will involuntarily be laid. In engendering the future nature of collective creativity in each individual, it is important to use the path of involvement in various types activities. By this, a full-fledged spiritually moral person is able to be reborn.