What is the festival

This festival is already the third in a row. The popularity of the festival is growing and attracting more and more new bands and soloists. This year it was attended by thirty-five contestants, selected at the casting of seventy declared ensembles and performers. The level of the contestants is different: there are very strong bands, almost professional ones, and very weak bands, which are quite boring to listen to. That's what the competitive program, which should isolate grains of gold from the sea of ​​​​sand, and there were such. True, the chief arbiter, the legend of the Russian musical life Artemy Troitsky, whose voice should be decisive in separating the grain from the chaff, this time was the "wedding general."

A separate item in the program of the festival is the "Crafts Fair", which this time took place on the territory of the Shushenskoye Museum-Reserve. There, one could not only see, but also buy the products of craftsmen ( clay jugs, wooden utensils, woven lace, pagan amulets, etc.), but also to hit the anvil with a hammer in a blacksmith's workshop or with your own hands using a potter to create a small masterpiece - a clay pot.

The night of an ancient pagan rite - kamlaniya - took place at the festival. Beating the tambourine, singing and dancing around the fire. For the first time, 7 sorcerers from Tyva, Khakassia and the Krasnoyarsk Territory are trying to bring themselves to ecstasy in order to drive away everything bad from the festival and people at it. At the head is the powerful and formidable Ai-Churek Oyun, known from past festivals. This time she needed more strength, attracted assistants.

The ancient rite impresses even non-skeptics. Thousands of people stand in a single circle. For the magic to happen, you need to touch the bodies and scream.

In the center of the circle, besides the fire, there is a sacred tree. His shamans tied it with ribbons and overlaid it with charmed branches and cones. Before the start of the ritual, one could touch it and make a wish, one could stand a little longer.

Kamlaniya this year was difficult - immediately and security, both for the weather and for good luck. At first, the sorcerers were even against filming and photographing. Kamlanie is a very intimate and energetically complex process. It develops according to its own laws and rules. Shamans never lose their rhythm and remember the ritual objects. The fire is sprinkled, the tambourines rise and fall. But in the state of their altered consciousness, the shamans do not pay attention to the fact that by the middle of the ritual, the human circle around them becomes narrower, many, together with the sorcerers, enter a semi-trance. Many, on the contrary, are afraid to even approach. The chanting lasts about three hours. Few survive until the end. Because they don't have their own god - music. Literally across the road from the shaman's glade at the stadium, discos stop all night. DJ sets on the site until the morning. The best teams and clubbers of the world from London, Moscow and other cities bring in the crowd with a trance musical. Instead of tambourines, there are completely different instruments here. eleven

“The scythe is a girl’s beauty, stop dangling over your shoulders, it’s time to get out of the kitchka.” Personally, I knew only the first part of this folk wisdom, but the whole meaning is lost. The braid was a girl's hairstyle, and as soon as the girl got married, the braids were removed under the closed headdress of the kitch. Nadezhda Stepanovna, the head of the "Children's Folk Center", came to the festival of ethnic music "Sayan Ring" as part of the "Pleten" ensemble. She has been studying the life and clothes of the Slavs for a long time. She believes that it is not superfluous for us modern people to learn from their ancestors. After all, they lived in harmony with nature, and even through clothes and life they tried to protect themselves from evil forces and attract good ones to their side. Is it worth adopting Japanese or Indian wisdom, which are so popular with us today, if we have all this. Nadezhda Nikolaevna finds many interesting differences in the culture of the Slavs and modern Russians. For example, "to set the horns" in our language means to change. And our ancestors wore horns boldly and even with pride. “Kichki of married women were often horned,” says Nadezhda Nikolaevna, “unlike modern people, our ancestors perceived horns as a symbol of fertility. A woman walked with horns as long as she could give birth to children. Girls' hats were open, women's were closed. Hence the expression "goof off". No one was supposed to see the hair of a married woman. Russian women never cut their hair, and men never cut their beards. In general, an unemployed man was considered defective, all this is not news to us, because you heard about Samson, whom Delilah cut off his hair, and because of this he lost his heroic strength, have you heard? Like many other peoples, the Slavs believed that there was strength in the hair. For example, the Khakasses wore their hair and nails in an embroidered bag on their chest, just like the Khakasses, the Russians had manists. This is an ornament that covers the neck. It was believed that the neck and chest are the most vulnerable spot. Buddhist monks and Hare Krishnas think the same way. All of them say in a voice that there must be at least some decoration on the neck. It is believed that it is possible to “climb into the soul” just through this weak spot. But the Slavs not only tried to scare away bad energy from themselves, but also to attract good energy. Initially, red, the color of energy and strength, was worn on days of hard work: the beginning of haymaking and sowing, only then this color became festive, as it also accompanied the end of the harvest. And during the period when the harvest was harvested, a wedding was played in Russia. And the young were not infrequently dressed in red. We are often surprised by the customs of our ancestors, but we ourselves do not notice that sometimes we follow them. Let's take and stick a pin on clothes - so as not to jinx it. The innovation of this year was the "city of masters". It was not only possible to buy various products handmade(it was possible to leave with purchases from previous festivals), but also to see how these things are born. And some masters even gave the audience the opportunity to participate in the process themselves. Near the potter's wheel was never empty. Everyone wanted to make a clay product with their own hands. Although in reality it turned out not quite their own. Some tried to conquer the potter's wheel themselves - it's crooked, but their own, and someone completely trusted experienced master. 14

Vladlen Durov, a blacksmith from the community of Vissarion, brought to the festival a wooden pavilion with a furnace, an anvil and other implements, without which blacksmithing is impossible. Vladlen and his two assistants specialize in making Damascus steel axes. It is famous for the fact that an intricate pattern is formed on its surface.

Only in order for such a pattern to appear, it is necessary to make a multilayer metal, up to 250 layers, and then “open” it. Vladlen's ax blanks are bought even by workshops engaged in the manufacture of collectible weapons. And Vladlen himself likes to hand over his products personally to the buyer in order to see what kind of person will use his ax.

Experiment Time

At the festival, not the smallest part is occupied by experimental groups, there are enough of them both among the participants and among the guests. The Novosibirsk ensemble "Seventh Heaven" itself cannot decide what kind of intricate musical path it has chosen. “Our work does not use any folklore in its purest form, of course,” says vocalist Victoria Chekova. - There is a process of absorbing all the music that you hear, and then processing and giving birth to something of your own. Most often, the motives of Russian music appear, simply because we ourselves, Russians.

From tops to roots

And yet, the main value of the festival is the presence of authentic (i.e. coming from the original source) music. Last year, the Kylysakh team became a real star, a discovery. He impressed everyone with the color of the Yakut songs, playing the khamus. The team is very prepared, not only musically. Perfectly developed style of musicians, demeanor - everything says that the band is ready to "export". The success of Tuvan, Yakut, Khakass groups abroad is colossal. Stepanida, a member of the Ailanys ensemble from Abakan, says: “Khakass culture is new. Not much is known about her in America. Khakass groups often go on tour there. And in our country, this culture is practically unknown. We traveled around twenty cities of Russia, and everywhere we were warmly welcomed, but there are almost no people who know the work of Khakass groups well.

Therefore, it is not surprising that in the new year the Grand Prix of the festival was taken by a Khakass group that performs authentic music. The Khakass song and dance ensemble "Ugler" is not unique. He is, perhaps, recognized as simply the best among the Khakass teams, which traditionally are many on the Sayan Ring.

One of the brightest events of the fair was the master class of the ensemble "Pleten" - the staff of the Shushensky Museum-Reserve. The ensemble presented a wedding ceremony and traditionally Russian wedding games, in which ancient objects and symbols were involved, authentic songs sounded at the performance. Spectators were also involved in the "wedding" and the games. During the show, members of the ensemble used authentic items used in wedding ceremonies of the 19th century, among them a self-woven towel and a whip used to whip the bride to protect her from the evil eye. The costumes of the team members were made according to sketches, recreated according to ethnographic samples. By the way, a professional choreographer is working with the Pleten ensemble. The clothes, songs and dances of the group represent a variety of Russian traditions with a predominance of South Russian motifs.

The guest of the festival, the famous Mola Sila, performed an improvisation in African traditions and European free-jazz. The DJ from London from London Propa Ghandi also performed. And in the evening, everyone on the banks of the Shush River celebrated Ivan Kupala Day. According to all traditions: with throwing wreaths into the water, searching for a fern flower and jumping over a fire. Special equipment was purchased for the festival this year for the first time. fifteen

The festival ended with a traditional halo concert with the awarding of diploma winners in nine nominations. On this occasion, Governor Alexander Khloponin specially flew to Shushenskoye - from year to year his charitable foundation is the main financial partner for the organizers of the ethnic festival. Speaking before the start of the final hit parade, Alexander Gennadievich noted that the festival has good prospects in the future.

The relevance of the festival "Sayan Ring"

Siberia is one of the world's reserves, where a bouquet of ethnic traditions and cultures has been preserved in its original form. Art and traditions - this is what unites all the territories of the "Sayan Ring": Taimyr, Buryatia, Khakassia, Tuva, Krasnoyarsk Territory, Kemerovo and Irkutsk Regions into a single unique Siberia.

Various social, psychological and other conflicts arise in people's lives, which cannot always be resolved. Accumulating, they sometimes lead to a psychological or social breakdown of a person. Art and creativity allows you to internally resolve the conflict, relieve psychological stress. Ethnic PR companies are needed in multinational regions. They create a communicative aspect, ensure the transfer of ethno-cultural information between generations.

The Sayan Ring Festival is an extravaganza of ethnic music. The authentic sound of folk instruments, a lively voice, ceremonial and ritual chants - this is what attracts the public from all over Siberia. Even chamber performers adapt to the format of the festival. Even Vardan Markos, the former Markosyan, spoke. His violin on the "Sayan Ring" amuses with Russian folk music. Bands from all over the world are on the festival stage. On the "Sayan Ring" there are Hungarians, Tuvans, Englishmen and even a guest from Senigal. African Mola Silla performs a duet with a Petersburger. And the black vocalist sings about love - as is customary in his homeland. "Sayan Ring" is also a professional festival, thirty teams claimed the main prize, but delivering the grand prix to the "Ugler" ensemble.

The songs and dances of the peoples carry through the centuries the deep energy of our ancestors. Preserving and passing them on to future generations, we seem to keep the fire of multinational traditions alive in our common home called the Earth. By studying the culture of peoples, we get to know each other better, which means we learn to be friends and become closer. Therefore, our festival has a peacekeeping mission. "Sayan Ring" is an ethnic festival, which should be treasured by all the inhabitants of Siberia. Even seasoned musicians are sure of this. Nothing of the sort can be found in Russia or abroad.

POSITION

ABOUT XX INTERNATIONAL FESTIVAL

"CHILDHOOD WITHOUT BORDERS"

(2017 - 2018)

I. GENERAL PROVISIONS

Festival relevance.

Inclusion in socially significant activities of children and youth, encouragement of their creative achievements is a priority activity of the International Union of Children's Public Associations "Union of Pioneer Organizations - Federation of Children's Organizations" (SPO-FDO).

By the Decree of the President of the Russian Federation “On the establishment of the All-Russian Public and State Children and Youth Organization “Russian Movement of Schoolchildren” of October 29, 2015, it is recognized that the children's public movement has become an integral and effective part of civil society. The National Strategy for Action in the Interests of Children emphasizes that children and their associations have proved by their vital activity the ability to effectively participate in the implementation of state tasks, as active subjects of this process.

International Festival"Childhood Without Borders", held by SPO-FDO for 20 years, has become an authoritative, social, practice-oriented platform in demand by children and adults, where the latest psychological and pedagogical methods and technologies for the formation of citizenship, patriotism and creativity in children and children are created, transformed and improved. youth.

The International Festival "Childhood without Borders" (hereinafter referred to as the Festival) is an effective self-developing system for selecting, supporting and developing the abilities of talented children and youth in the public, research, and creative spheres of life.

The use of a variable-program approach during the organization of the Festival stimulates the development of children's public initiative in the regions of the Russian Federation and other countries.

The festival contributes to:

· identification of the most problematic issues of upbringing, education, the formation of a creative personality, requiring the active participation of the State and society;

solving the problems facing children's public associations with the help of the children themselves, demonstrating examples of their successful solution for the formation of a civil, patriotic position of the younger generation;

revitalization of children's activities public organizations and associations in the processes of development, formation, education, training and socialization of children and youth;

· demonstrating the significance, usefulness and effectiveness of the opportunities of children's public organizations and associations in supporting socially significant ideas and projects of children and youth.

The festival is a unique technology of non-formal education and a public support system for active and talented children and youth. It is open to all institutions of society and is a socially significant event in the life of children's public associations.

The festival is supported by interested state institutions, non-profit organizations, public associations, and the media.

The social effect of the Festival is to attract the attention of the legislative and executive authorities, society and its institutions, SPO-FDO partners to the problems of social, creative maturation of the younger generation; assisting children and adolescents in the implementation of creative, social projects and programs, supporting and developing the children's social movement.

2. Purpose and objectives of the festival. The goal of the Childhood Without Borders festival is to create and implement opportunities for public demonstration of the creative potential of children, children's organizations and groups, adults working with children, to develop programs to support talented children and youth.

The festival is aimed at solving the following tasks:

· attracting the attention of state and public institutions, the media to the problems of supporting the talent of a child in a world without borders;

creation of a system of methods and social practices that effectively contribute to the formation of the qualities of a Citizen, a Patriot, a Creator - a keeper and a successor of national traditions in a teenager's personality;

· demonstration to children and teenagers of opportunities for creative communication and cooperation of children's associations in socially significant activities;

· involvement of the younger generation in creative, positive activities through the creation of a system of competitions and promotions that develop the creative potential of the child;

· systematization of methods, techniques, forms of work for the implementation of children's programs and projects in the field of supporting talented children and youth;

competition-action "The code of success of my Fatherland"

contest-action "Nature has friends, it's us - you and me!"

· competition research work"Children's public organizations - a resource of civil society"

· competition for the award of the prize for children with disabilities "Kind Magician".

· competition visual arts and arts and crafts "Young talents";

· competition of game programs and projects "Talented organizers";

competition of creative works "Road to Space";

· Competition of creative works "Happy Anniversary, Festival!"

4. Time of the festival. The festival has been held since October 2017, the table will be sent later.

5. Organization of the festival:

· the first stage (correspondence) DTDiM named after I.Kh. Sadykov.

6. Participants of the festival- children, teenagers, youth from 8 to 25 years old (depending on the requirements and criteria for evaluating specific actions and competitions), united in a children's public organization, children's or youth creative association or acting individually, their leaders, teachers and mentors.

Very important:

· in the list of works without abbreviations and abbreviations is indicated:

Name of the competition;

Job title;

Age (day, month, year of birth);

Name of the children's organization (association), indication of the school ( creative association, studio, mug);

Surname, name, patronymic of the head (curator);

Full postal address indicating the region, municipality or other entity, contact phone number, email address.

· for each work, you must attach on its invisible part there is an inscription with the obligatory indication of the title of the work, the author and the region (republic, territory, region, autonomous district, district, city, village);

· every job, made using computer technology, is sent to participate in a specific competition on a separate electronic medium;

Works sent for participation in the second (final) stage only email will not be considered;

· all works, sent to Moscow to participate in the competitions of the second (final) stage of the festival, are not reviewed and are not returned to the authors.

Competition-action "Code of success of MY Fatherland!"

“My friend, let us dedicate our souls to the Fatherland with wonderful impulses”

A.S. Pushkin

Relevance

The success and viability of the Fatherland are inextricably linked with the need to educate a person who develops in harmony with his Motherland and people.

How to achieve the maximum indicators of success and viability of the Fatherland?

· own the fundamentals of the culture of the Motherland and perceive oneself as a bearer of its values, understand the Fatherland through the spiritual basis of the native culture;

· to show social activity, focused on the coordination of their life plans with the key directions of the development of the Fatherland;

· to recognize as a key value love for the Fatherland, devotion to one's Fatherland, the desire to serve its interests and readiness to defend it;

be tolerant, tolerant of other people's opinions, able to conduct a dialogue, seek and find meaningful compromises;

· to have a conscious moral position formed on the basis of the spiritual values ​​of the Motherland;

· be capable of self-organization, be able to defend their rights, participate in activities and create public associations;

· have a high level of legal culture: knowing the fundamental legal norms and able to use the possibilities of the legal system.

One of the main activities of the Children's Public Organizations is the civil and patriotic education of the younger generation, which has always been aimed at developing a high patriotic consciousness in children and adolescents, a sense of loyalty to their Fatherland, readiness to fulfill civic duty and constitutional obligations to protect the interests of the Fatherland, strengthen the unity and friendship of peoples, and allows you to achieve the maximum indicators of the success and viability of the Fatherland.

The action-competition is designed to implement the named directions with a high result.

1. Goals and objectives of the competition-action:

· search and implementation of effective ways, forms and methods of formation of national consciousness, citizenship, patriotism and love for the Fatherland among the younger generation;

· activation of the work of children's public associations for civil and patriotic education of the younger generation;

· assistance in fostering a sense of duty and readiness to save and protect the Fatherland, its natural, cultural and intellectual wealth;

Propaganda among children of the heroic history and glory of the Motherland;

· promoting the development of active civic position of children and adolescents;

· creation of conditions for the demonstration in the children's and adolescent environment of various types of social activity of participants in children's public associations;

· popularization of best practices of children's public organizations and associations in civil law, patriotic, international education.

2. Participants of the competition-action. Children and youth aged 8 to 24, representatives of children's public associations, subjects of SPO-FDO, children's associations of Houses and Palaces of Children's Creativity, clubs at the place of residence, in five age categories (8-10, 11- 13, 14-16, 17-20, 21-24 years old)..

3. Organization and holding of the competition-action. During the campaign, it is proposed to hold events in the following areas:

"Link of Generations"

· carrying out social actions “An elderly person lives nearby”, “Care”, to provide assistance to the elderly, veterans of the Great Patriotic War, labor veterans; organization of activities in the field of physical culture and mass sports;

organization of joint creative activities (leisure activities, joint musical evenings, creative workshops, etc.):

involvement of older people public life by creating joint volunteer units, etc.

"Man and society":

· initiation and support of actions aimed at civic-patriotic education: “We are citizens!”, “The Motherland needs me”, “For the Motherland, goodness and justice!” and etc.;

· holding creative events, competitions on legal topics, competitions of drawings, wall newspapers, essays, readers on civil and patriotic topics;

formation respectful attitude to the state symbols (carrying out the campaign “Our flag and coat of arms covered with glory”)

"Learn to defend the Motherland!":

· development of a network of clubs, circles, sections of a military-patriotic orientation;

attraction of children and youth to classes in military-patriotic clubs and associations,

· joint activity of veteran organizations and youth patriotic centers;

conducting lessons of courage, work school museums;

· conducting field training, military sports games such as "Zarnitsa", "Eaglet", "Shield", competitions of patriotic songs;

preparation for service in the ranks of the defenders of the Fatherland, assistance in mastering the basics of military professions;

· involvement of the mass media in the formation of a positive public opinion about the activities of military-patriotic clubs and associations, military service.

"About the Motherland, about a feat, about glory"":

collection of materials with the memoirs of war veterans;

· continuity of patriotic traditions of generations of veterans;

fight against falsifiers of the Great Patriotic War;

· carrying out the campaigns “Memory Watch”, “Heirs of the Victory”, “No one is forgotten, nothing is forgotten”, etc.

· Days of united actions dedicated to memorable days (January 27 - Day of lifting the blockade of Leningrad, February 2 - the defeat of the Nazi troops in the Battle of Stalingrad, April 11 - the day of the liberation of concentration camp prisoners, etc.);

· putting in order obelisks, burial places of soldiers who died in the line of military duty;

participation in search operations on the battlefields.

As part of the campaign, competition of implemented social projects in the proposed areas. Works must be sent in printed form and in electronic format Projects that reflect the most effective forms of work on the civic-patriotic education of youth will be evaluated.

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, seven days a week and holidays

Shirokova, Elena A. Music Festival in the dialogue of cultures: dissertation ... candidate of cultural studies: 24.00.01 / Shirokova Elena Anatolyevna; [Place of protection: St. Petersburg. state University of Culture and Arts].- St. Petersburg, 2013.- 171 p.: ill. RSL OD, 61 13-24/35

Introduction

Chapter 1. Music festival as a form of dialogue: theoretical aspect 15

1. Festival in the system of cultural communication 15

2. Cultural creative potential of the music festival 34

3. The problem of the origins of the modern music festival: improvisational creativity and the dialogue of cultures 63

Chapter 2 Music festival in dialogic space modern culture 86

1. Music festival as a socio-cultural phenomenon 86

2. Models of contemporary music festival 103

3. Music festival in the sense of a postmodern project 121

Conclusion 147

Bibliography 155

Introduction to work

Relevance of the research topic.

At the turn of the millennium, a new art picture world, due to the complex processes of globalization, the development of a post-industrial model of society and the economy, technological changes, the rapid development of worldwide communication systems (the global Internet) and other factors. All this has an impact on the worldview of a person, the nature of his interaction with the external environment and society, spiritual and creative self-expression in the fields of art, religion, philosophy. AT modern world new forms of cultural creation are constantly emerging that coexist with traditional ones, and sometimes even supplant them.

In recent decades, one of the most sought-after forms of interaction between people in modern culture has become a festival. The festival movement in Europe, the USA and Russia is constantly expanding, capturing more and more vast layers of cultural space. The music festival movement is no exception. The music festival is a bright and original phenomenon. At first glance, it develops independently of global social and political processes and has its own internal logic. Meanwhile, the change in the nature of the perception of this phenomenon reveals the presence of regularities of a general cultural scale in festival actions: the musical festival movement can be put on a par with other cultural phenomena in the space of modernity. In the context of cultural studies, a music festival is beginning to be perceived as a sociocultural phenomenon, a specific form of intercultural communication, within which the creative and intellectual intentions of our time are realized. Indeed, in recent decades, the music festival has stepped over the boundaries of a musical event and has acquired the significance of a form of cultural communication. It is increasingly becoming one of the main forms of contacts between performers and the audience. At the same time, the music festival has not yet become an object of close attention and study of specialists who study the general patterns of development of modern culture and cultural communication, theorists, historians and sociologists of culture. Musical festival projects continue to be described and studied from the standpoint of applied knowledge about the dynamics of the modern performing and creative process, rather, stating their diversity, content, circle of participants, etc. Thus, there is a need to comprehend the music festival as a phenomenon of modern culture, included in the system of dialogic relations between different national cultures. This determines the relevance of this study.

The degree of scientific development of the problem

The most significant in the context of the dissertation are the works of M.M. Bakhtin, the creator of the culturological concept of dialogue, the founder of the school of "dialogue of cultures" V.S. Bibler, European and domestic scientists M. Buber (the creator of the religious "philosophy of dialogue"), his follower E. Levinas, Yu.M. Lotman (the creator of the semiotic concept of cultural dialogue), representatives of the Western "philosophy of dialogue" F. Rosenzweig, O. Rosenstock-Hussy, the author of the method of "dialogue pedagogy" P. Freire. Along with this, the psychological studies of L.S. Vygotsky, in which dialogue is studied as a mechanism of human thinking, directed at the individual himself and “at others”.

Understanding the role of a music festival in the structure of socio-cultural interactions of our time was facilitated by works devoted to the theory of communication. The philosophical substantiation of the category "communication" is presented in the works of the existentialists K. Jaspers and J.-P. Sartre, as well as in the theory of communicative action by J. Habermas. The problems of the general theory of communication, the study of the mechanisms of sociocultural, interpersonal, intracultural and intercultural communication are reflected in the works of G.M. Andreeva, S.N. Artanovsky, N.M. Bogolyubova, S.V. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagan, A.V. Kovalenko, V.P. Konetskaya, G. Lasuella, A.N. Leontiev, M. McLuhan, Yu.V. Nikolaeva, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, H. Reimann, A.P. Sadokhin, A.V. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others.

The study of the festival as a specific form of organization of cultural communication is presented only in individual works of a socio-practical orientation. These include works in the field of sociology of art and socio-cultural activities, including the works of N.V. Garustovich, N.A. Zapesotskaya and A.M. Menshikov.

The historical formation and development of the form of the festival (in particular, music) and the festival movement have not previously been covered as a topic for independent research. Selected aspects This problem is covered by J. Huizinga (the question of the origin of the festive spectacle based on the game), the history of ritual-game actions and folk-festive forms in the Middle Ages and the Renaissance in the works of M.M. Bakhtin, V.P. Darkevich, M.A. Saponova), the processes of festival artistic practice at the turn of the 19th – 20th centuries. in the publications of I.A. Azizyan, A. Artaud, J. Cocteau, A.M. Menshikov, G.G. Pospelov and others.

In the context of the study great importance had works covering the content of the actual geocultural processes of our time. This explains the appeal to the works, which reflect various aspects of the processes of globalization. Among the most significant works are S. Beregov, V.P. Bolshakov, V. Galetsky, L.E. Grinin, K.K. Kolina, A.A. Koroleva, A.V. Kostina, M.A. Muntyan, I.V. Novikova, S.N. Ikonnikova, E.A. Ostrovskaya, R. Park, M.E. Tondera, G.P. Khorina, A.I. Shendrik and others.

The problems of the theory and history of music, including jazz art (on the example of which modern trends in the festival movement are considered) are reflected in the works of Russian and foreign researchers E. Barban, F. Bergero, Yu.T. Vermenich, A.R. Galitsky, G. Grimes, V.D. Konen, Y. Panasier, W. Parker, E.L. Rybakova, U. Sargent, Yu. Saulsky, M. Stearns, V.B. Feiertag, Yu. Chugunov and others. However, in these works there is no systematized and generalized material on the history of the music festival movement. Festival projects in America, Europe and Russia in the 1930s–2010s presented in the Internet system of electronic resources.

The study of the current state of the musical festival movement, both in academic and in jazz, and in rock music, prompted us to turn to research on the general artistic practice of our time and, in particular, its postmodernist tendencies. Various aspects of postmodern theory, touched upon in the dissertation, are presented in the works of R. Bart, F. Guattari, J. Deleuze, J. Derrida, U. Eco; specificity artistic creativity postmodernists is reflected in the studies of J. Bignell, V.V. Bychkova, V.M. Dianova, S.N. Ikonnikova, M. McLuhan, N.B. Mankovskaya, S.T. Makhlina, N.N. Suvorova, N.A. Khrenova, N.A. Shirokova and others.

Thus, the lack of monographic studies of the phenomenon of a music festival makes it relevant to study it from the point of view of cultural science as a phenomenon included in the socio-cultural and creative processes of our time. It is necessary to systematize the vast factual material on the dynamics of the festival movement in the art of music, comparing and comparing it with the many-sided panorama of phenomena artistic culture at the turn of the XX-XXI centuries.

Object of study- musical culture of the late XX - early XXI centuries.

Subject of study– music festival as a specific form of communication in modern culture.

Purpose of the study– revealing the cultural-creative potential of the music festival, studying it from the standpoint of the theory of the dialogue of cultures.

Defining the purpose, object and subject of research allows us to formulate a series research tasks:

1. characterize the phenomenon of the festival in a cultural context, determine its place in the system of modern cultural communication, identify signs of the cultural and dialogical nature of the festival;

2. to study the music festival as a special form of cultural creativity, by examining this phenomenon in historical dynamics;

3. to identify the origins of the modern music festival, considering the varieties of the music festival in comparison with the "dialogical" types of improvisational creativity;

4. to study a music festival as a socio-cultural phenomenon in the system of social interactions between individuals belonging to different national communities and cultures, social groups (communities), etc.;

5. to explore the main models of the music festival of the 1990s-2010s in relation to their dialogic nature, to identify two main varieties of the festival;

6. analyze the concept of a modern music festival in conjunction with the artistic practice of postmodernism, considering it as a postmodern project.

Methodological basis and research methods.

The methodological basis of the work is the culturological and philosophical theory of dialogue developed in the 20th century.

The theoretical-cultural, historical-cultural, socio-cultural and comparative-historical research methods were also used in the work. The theoretical and cultural method contributed to the understanding of the phenomena of the festival, in particular, the musical one, in the context of the dialogue of cultures and artistic communication. The application of the historical and cultural method made it possible to consider and comprehend the logic of the formation and development of the festival movement in the space of world artistic culture and, especially, in the field of contemporary musical art. The appeal to the sociocultural method made it possible to study the festival movement in the context of social relations. The comparative-historical method was used to identify meaningful parallels between ritual and festive and mass spectacles of various historical eras and the festival.

Along with this, the work used a typological method that contributed to clarifying the typological features of a music festival of recent decades in comparison with the creative principles of postmodernism.

Scientific novelty of the research.

The culturological analysis of the festival from the standpoint of the dialogue of cultures is carried out, the essence of the phenomenon of the festival is determined in the context of modern culture.

2. The key characteristics of the music festival are considered and identified: dialogism (dialogical structure), multisubject relations, polycentricity, pluralism, democracy, creative and playful atmosphere, entertainment.

3. In the course of the historical study of the festival movement in music, two types of organization of festivals have been identified: concert-monologic and dialogic.

4. On the basis of extensive factual material, the origins of the modern music festival of two types are studied and revealed: concert-monologic and dialogic. It is shown that by the 1990–2010s. in pop-jazz and rock music, a festival of a dialogic type began to prevail based on improvisational music-making.

5. The study of the musical festival movement as a socio-cultural phenomenon, in the system of interpersonal and intercultural communication was carried out; the geocultural factors that had the greatest impact on strengthening the communicative significance of the festival in the second half of the 20th - early 21st centuries were studied.

6. On the example of the organization of modern jazz and rock music festivals, a dialogic context is revealed that dominates the main models of a dialogic type festival:

– on the basis of equal relations between participants representing different national traditions;

- based on the synthesis and organic fusion (combination) of ethno-national and creative traditions of different cultures.

7. In order to study postmodern tendencies in contemporary musical art, materials on the festival practice of the 1990s–2010s are summarized and systematized; the refraction of the most important postmodern principles (dialogic, play principle, spontaneity, spontaneity, improvisation, freedom, autonomy, incompleteness, openness, performativity) in the content and spatio-temporal organization of modern festivals is characterized.

Defense provisions.

1. Music festival is specific kind social and cultural dialogue, implemented in the forms of creative communication based on pluralism and equality of its participants.

2. The typological features of the music festival, including: dialogism, creative and playful atmosphere, representativeness, spectacle and others are formed on the basis of the carnival and festive tradition and creative game-spectacle, improvisational game of the Antiquity, Middle Ages and Renaissance.

3. The basis of a modern music festival is improvisational creativity as an independent form of dialogue between musicians, an alternative to concert practice. The creative act here reveals the properties of improvisation-composing and "open work". By the 1990s–2000s. form of improvisational music-making prevailed over traditional forms concert performance.

4. A modern music festival is included in the system of complex socio-cultural interactions; in the 2000s it becomes one of the forms of implementation of global intercultural relations. The wide dissemination of the festival movement in contemporary art is one of the important components of the overall process of globalization, the expansion of creative intercultural communication.

5. The dependence of the festival movement on the socio-cultural trends of the time is manifested through the formation of two dialogic models of the festival in the form of a dialogue of cultures: on the basis of equal interaction of participants representing different national traditions and on the basis of an organic fusion and synthesis of various styles and currents of modern music belonging to different national cultures. The second model of the festival becomes the most popular.

6. The typological characteristics of a modern music festival make it part of the postmodern culture, one of its synthetic audiovisual forms.

Indicative of postmodern culture can be considered a jazz festival, which belongs to the category of spectacular forms of culture that dominate in times of crisis and bring to life the energy of the collective principle as opposed to the individual-personal. This is due to the need to adapt to the dynamic conditions of existence in a crisis environment, to guarantee stability and resistance to destructive processes in culture. .

7. The festival, as a dynamic and dialogic creative action, performs the function of a spontaneously emotional and creative compensator for its participants.

Theoretical and practical significance of the research.

The materials of the dissertation research are of scientific, theoretical and practical importance, since they can be used to further develop a whole range of problems of the existence of contemporary musical art in the space of modern culture. They can also be the ideological and theoretical basis for the organization of various art festivals.

The dissertation materials can be used in the educational process, in the study of general courses in the theory and history of musical and, more broadly, artistic culture, as well as in creating a special course dedicated to the problems of the modern festival movement in the context of cultural communication.

Approbation of work. Approbation of the main provisions and materials of the dissertation was carried out throughout the entire period of the study. The content of the dissertation and the results obtained were discussed at meetings of the Department of Theory and History of Culture of the St. Petersburg State University of Culture and Arts; the thesis was recommended for defense.

Various aspects of the dissertation research issues were reflected in the speeches at the International scientific and practical conference of graduate students, students and young scientists "World of Culture" (Chelyabinsk, June 8, 2011, June 6-7, 2012), the scientific and practical conference "Cultural and historical reality in the study of young scientists” (St. Petersburg, April 20-21, 2011), in scientific articles published in peer-reviewed scientific and practical journals and collections of scientific papers (Gorno-Altaisk, Tambov, Chelyabinsk).

Dissertation structure. The dissertation consists of an Introduction, two chapters (six paragraphs), a Conclusion, a bibliographic list containing 172 titles. The total volume of work is 171 pages.

Cultural-creative potential of the music festival

Modern culture is distinguished by the multiplicity of forms of creative realization of the individual, it is characterized by pluralism, content and semantic heterogeneity, a variety of artistic worldviews. In the conditions of continuous experiment with the content and forms of creativity, the actual culture is formed as a complex communicative set of texts, ideologies, values, judgments, etc., entering into complicated relationship determined by its subject - a person of culture, an author (artist, or creator). Not by chance special meaning acquires the idea of ​​a creative dialogue within the framework of culture, which makes it possible to coordinate the artist's search, to realize the experience of spiritual and aesthetic self-identification, to present the author's interpretation of the "eternal" issues of art. This explains why the most popular forms of cultural creativity today are those in which the exchange of artistic ideas and the integration of practical experience, communication as a way of intellectual and creative interaction. Among the many such forms in recent decades, the festival has come to the fore - a kind of socio-practical and artistic-symbolic model of cultural dialogue.

In the modern humanities (art history and the theory of creativity), the concept of a festival is mostly characterized from an applied point of view. Indeed, the main meaning of the word “festival” (French, from Latin festivus) is “feast”, “holiday”, “spectacle”, which indicates its main purpose: to serve as a form of social action with elements of a holiday. Here is a very characteristic encyclopedic definition of the concept in this vein: "a festival is a mass celebration, including a display of achievements in the field of music, theater, cinema, variety art." The fact that the phenomenon is perceived for the most part as practically applied is also evidenced by the way its varieties are classified. For example, A.M. Menshikov distinguishes among them “...universal (covering several types of art), specialized (one type of art - theatrical, musical, film festivals, etc.), monographic (dedicated to one author, playwright, director, composer, actor), thematic (dedicated to a certain genre, era or stylistic direction), highly specialized (for example, a festival of folk, children's, youth songs) ". From this classification, it becomes clear that the phenomenon of the festival is described from a purely utilitarian point of view. An applied approach is also used in the characterization of various festival forms. So, when defining a music festival in a socio-practical manner, it is noted that these are “... cycles of concerts and performances united by a common name, a single program and taking place in a particularly solemn atmosphere”1; the purpose of the theater festival, for the most part, is explained through synonymous concepts: “review, competition, olympiad, show, review of the achievements of theatrical art”17. Thus, it should be recognized that the understanding of the category of the festival is rather descriptive, since it fixes only the external parameters of the phenomenon, but in no way

In a slightly different content plan, but in the same methodological perspective, the concept is considered in the field of modern sociology. Here the festival is defined as one of the forms of mass performances, included in the space of popular social projects, which gives the right to perceive it as a "sociocultural phenomenon in the market conditions and the development of the basic principles of a marketing strategy"18. It is no coincidence that from the standpoint of sociological science, the festival is studied as an object of marketing, and the subject of research is the mechanisms of the socio-economic organization of the creative process, which contribute to the successful implementation of the promotional, communicative, educational and entertaining functions of the festival. In this context, the festival is understood in the meaning of the "product" of culture, through which the connection between society and the socio-cultural sphere is carried out. Being a “commodity” offered to the “consumer” viewer, it can serve to nurture the artistic taste and aesthetic orientations of the public (more broadly, influence the nature of their formation), serve as an information field and be a means of bringing to the public consciousness information about a qualitatively new in the field of artistic culture, have a compensatory value (as an element of the entertainment environment), etc. In this case, the goal of the festival can be considered the regulation and improvement of relations in the system "artist - society", as a result of which the economic and social mechanisms of organizing the festival become so important.

The problem of the origins of the modern music festival: improvisational creativity and the dialogue of cultures

During the historical formation of the music festival as a special type of spectacle, the concert has firmly taken a leading position in the structure of the festival programs. This is how the academic festival of the concert-monologic type was formed. This type of festival action is characterized by: thematic orientation, programming, stability of relations between the public and performers. It is based on separate concert programs, dedicated to creativity a certain artist (a group of performers, or a musical group), style direction, musical genre, etc. The concert-monologic type of the festival prevailed in artistic practice until recently, i.e. until the moment of increasing interest in dynamic, open forms of communication between musicians and spectators.

An example of a traditional, concert-type music festival is Slavonic Bazaar. First implemented in 1992 on the territory of Belarus (in Vitebsk), this project has a pronounced thematic focus. It is indicated by the name of the festival, the purpose of which is to present to the public, a kind of "fair" musical achievements Slavic peoples. This determines the concept of programs and main directions " Slavic Bazaar". Within its framework, several forms of concert communication with the audience are implemented in parallel: an international competition of pop song performers, an international children's music competition, gala concerts of art masters from Belarus, Russia and Ukraine, solo concert programs of pop stars, as well as thematic Days of the Union State dedicated to musical culture one of the CIS countries66. It should be emphasized that due to the involvement of creative forces (soloists and teams) from other countries, the concept of the festival has undergone some changes over time. Thus, the participation of musicians from Azerbaijan, Bulgaria, Greece, Kyrgyzstan, the Netherlands, Poland, Slovakia, Turkey, Uzbekistan, Switzerland, etc. made it possible to shift the focus from the idea of ​​a “Slavic talent fair” to the idea of ​​an international “bazaar” of musical art. By the end of the 2010s in the program of the festival, the concept of general national ties between peoples finally prevailed. It is no coincidence that the motto of the event was the words: "Through art - to peace and mutual understanding."

The content of the festival is based on the classical form of a thematic concert for concert practice. For example, in 1992, during the first "Slavianski Bazaar", programs devoted to the song creativity of the Slavic countries prevailed. In the future, the range of musical directions of the festival expanded, however general principle The organization of the festival space has not changed. The content of individual concert programs is determined by the direction musical style one or another performer, group, folklore group. Among permanent members festival - national concert orchestra Belarus, folk choir. G.I. Tsitovich, "Turetsky Choir", National Honored Academic Dance Ensemble of Ukraine named after. P. Virsky, choreographic ensemble "Khoroshki", vocal and instrumental ensembles "Golden Ring", "Pesnyary", "Syabry", groups "Lyube", "BI-2", "Night Snipers", pop performers N. Baskov, V Leontiev, F. Kirkorov, V. Meladze, B. Moiseev, S. Rotaru and others. group "Insight", jazz cabaret by O. Skrypka, project-show "Latino-Brazil festival", as well as pop-jazz dance groups (including the ballet "Street Jazz", ballet A. Dukhovoi "Todes", "Step- dance"). In recent years, musicians of the classical, academic direction, for example, the world-famous vocalist D. Hvorostovsky, have begun to show interest in the festival program. In general, the forms of creative interaction between individual performers and groups with the organizing committee of the festival are steady and stable.

During the twenty-year period of the “Slavianski Bazaar”, not only a clearly defined space of the festival venues has been formed, but also its listeners and viewers. Each of the concert directions of the project has its addressee. The concert actions of the "Slavianski Bazaar" are focused on the range of artistic and taste preferences of certain social groups, primarily the mass, most democratic audience, as a result of which some programs are "run in" many times in different halls, both in Vitebsk and beyond. Since 2003 individual (key in terms of importance) concerts have been exported to the regional centers of Belarus.

On the whole, the Slavianski Bazaar project is distinguished by its program completeness, thematic focus, and the stable nature of the relationship between the musicians-performers and the public.

Another example of a project organized according to the concert-monologic type is the international music festival "White Nights of St. Petersburg". It was first held in 1992; its programs were organized annually during 1993-1995; subsequently, intermittently, the White Nights gala concerts were held in 2003 and 2006. A successful attempt to revive the project dates back to 2011, when the status of festival events was supported by show business representatives from the largest European countries, including Great Britain, Holland , Monaco, France68. Like any thematic festival, White Nights has its own concept. It is defined for the purposes of the project, presented on the site by the organizers:

Modern music festival models

Earlier, we tried to explore the nature and cultural-creative potentials of a music festival from the standpoint of the theory of cultural dialogue. This made it possible to include this phenomenon in a broad cultural context and to understand what place it occupies in the structure of modern artistic culture. One of the key conclusions made in the course of the analysis can be considered a judgment about the communicative value of a modern festival and, in particular, a jazz one, for all participants in the creative process (both performing musicians and the public) and, more broadly, for the entire space of contemporary culture. Having asked what factors caused this, it should be noted that along with the universal quality of dialogism inherent in festival actions, their inclusion in the system of social interactions between individuals belonging to different national and cultural communities, social groups (communities), etc. is no less important. etc., involvement in the system of interactions of various spheres and institutions of culture and, first of all, art and society. In other words, a music festival can be considered as a socio-cultural phenomenon, in the structure of which the mechanisms of social communication are found.

Indeed, contemporary art is closely interconnected with socio-cultural processes and reflects all the diversity and specificity of social relations inherent in our time. This statement is especially true in relation to such forms of artistic creativity, in which the idea of ​​communication initially predominates, i.e. the installation on interpersonal, interethnic, intercultural, etc. is pronounced. communication and information exchange. It is to these models of creative interaction that a modern music festival can be attributed, which over time is increasingly used as a way of conducting a cultural dialogue. In this regard, it becomes necessary to consider this phenomenon in relation to the concept of communication.

The category of communication is widely reflected in various fields of scientific knowledge. This is quite natural, since the space of human culture is inseparable from the mechanisms of interaction between people. Indeed, according to the fair remark of I.K. Moskvina, “culture is a field of various interactions, communications, dialogues that are extremely important for its existence and development”119. The field of comprehension of the category is formed within the framework of philosophy, linguistics, and information theory120. The idea of ​​communication is devoted to the judgments of the existentialists K. Jaspers and J.-P. Sartre, the theory of communicative action by J. Habermas, works on the “philosophy of dialogue” (M. Buber, M.M. Bakhtin, B.C. Bibler, E. Levinas, F. Rosenzweig, O. Rosenstock-Hüssy)122, works on the theory of “ clarification of linguistic experience” by L. Wittgenstein123. In modern humanities - cultural studies, sociology, political science, psychology - a general theory of communication has been widely developed. Among the works devoted to its various aspects are the studies of G.M. Andreeva, SV. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagan, A.V. Kovalenko, V.P. Konetskaya, G. Lasuella, A.N. Leontiev, Yu.M. Lotman, M. McLuhan, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, X. Reimann, A.P. Sadokhin, A.V. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others.124

According to the definition of L.V. Petrov, communication is “the specific social relations that arise in the process and remain as a result of the exchange of information between individuals or their associations and contribute to the preservation and development of the spiritual unity of the human community”125. As noted by L.V. Petrov, the term "communication" at the same time contains the meaning of transmission, communication, information, and also "contains the phenomenon of complicity arising from the public reception of information, the formation of a certain community of people who have received this information"126.

According to A.P. Sadokhin, one of the key problems of the general theory of communication is the definition of the term "communication" and the analysis of its content in relation to the concept of "communication". Since this directly affects the essence of the jazz festival as a modern form of organizing socio-cultural communication, it makes sense to comprehend in more detail the approaches developed in science to this problem.

According to A.P. Sadokhin, the concepts of "communication" and "communication" are closely related to each other, since the elementary meaning Latin word"communicatio" - "make common", "connect", "communicate"127. At the same time, researchers tend to view the nature of the relationship between definitions differently. This explains the existence of different approaches to the problem. A.P. Sadokhin offers a peculiar classification of research points of view on this issue128. Thus, the first group of scientists identifies these concepts, based on their etymological commonality, and does not see a fundamental difference in their content. The second group, on the contrary, distinguishes between concepts, believing that "... communication has both a practical, material, and spiritual, informational, and practical-spiritual nature, while communication is a purely informational process - the transmission of certain messages"1. At the same time, it is noted that communication is a one-way process, while communication is built as an active interaction, in which "... there is no sender and recipient of messages - there are interlocutors, accomplices in a common cause" . The third group of studies is based on the idea of ​​such a correlation of concepts with each other, in which the term "communication" is more general, and the concept of "communication" characterizes "... only those processes of information exchange that represent a specific human activity aimed at establishing and maintaining interrelation and interaction between people”132. We present here the author's point of view of A.P. Sadokhin, who systematized this material: based on the theory of X. Reimann, who argued that "... communication should be understood not as the message itself or the transmission of a message, but primarily mutual understanding" of the participants in the interaction1 3, the scientist makes a judgment that The basis of communication is mutual understanding, outside of which communication processes are meaningless. As a result, A.P. Sadokhin considers the communicative process as a desire for mutual understanding between individuals (communities) included in the interaction, the process of “the exchange of thoughts, ideas, ideas, emotional experiences and information, aimed at achieving mutual understanding and influencing each other of communication partners” 4.

Music festival in the meaning of a postmodern project

When comparing these postmodern characteristics with the key characteristics of a music festival, one can find many points of contact. Let us once again identify the most significant features of the modern music festival, identified earlier, to make sure of this. These include: - dialogism; - a creative-playing atmosphere created on the basis of the traditions of the creative game-spectacle and the techniques of the game-improvisation, improvisation of writing; - meaningful polycentricity and creative pluralism; - “intertextuality” of interactions between piece of music, participants and spectators (listeners) of the festival, due to the multi-subjectivity of creative communication; - fundamental semantic (meaningful) "openness", experimentalism, variability of the artistic result achieved during the festival music-making; - representativeness, entertainment.

A simple comparison reveals the similarity of a number of characteristics that are generic, in one case, for the practice of postmodernism, in the other - for the music festival practice. However, like no other area of ​​modern musical art, the jazz festival meets the urgent creative needs of postmodernists. It is he who can serve as a truly fruitful platform for a successful creative experiment in this direction. If postmodernism and its ideas penetrate some areas of modern creativity gradually and, perhaps, artificially, the jazz festival area seems to be created in order to implement the most daring innovative projects of a postmodern nature in it. In the nature of a jazz festival, there are all the prerequisites for organizing a postmodern artistic environment, saturated with intertextual interactions, involving an open, improvisational creative process, an active dialogue between representatives of different national cultures, styles, etc. In addition, the jazz festival is a space organized according to performative laws; it attracts viewers and listeners with its brightness and spectacle and therefore can serve for public manifestation and demonstration of new artistic techniques, models of work, technologies.

It has already been noted earlier that the festival environment encourages experimentation in the conditions of live communication and dialogue. I would especially like to highlight such a feature in the organization of the festival space as autonomy, dramatic integrity and a certain self-sufficiency. Each modern festival project claims to have independent significance and truly resembles the image of a rhizome that exists on the basis of complex branched (“root”) interactions between its individual programs (concerts, actions, etc.) and participants. All these factors are highly inherent in the postmodern situation of creativity. Therefore, it seems not surprising that many festivals of the last decades, in fact, represent a postmodern project, included in the active common space of postmodern art.

Speaking about the reasons for the actualization of the festival movement in the era of postmodernism, one cannot help but dwell on one more aspect of this problem. Following the opinions of some modern researchers, it can be argued that the main reason for the demand for a jazz festival is its entertainment. At the same time, we are not talking about the simple attractiveness of the “outer shell” of festival actions, their “glossy” accessibility. Far from it: spectacle is the most important component of cultural life for a person living in a transitional era, which includes the postmodern period. This point of view is presented in the works of N.A. Khrenova and A.V. Kostina devoted to the study of the cultural situation at the turn of the XX-XXI centuries. According to A.V. Kostina, state of the art culture can be called a crisis for an individual experiencing tremendous stress from a collision with the external environment, the contradiction between the personal and social aspects of being, experiencing numerous stresses in the post-industrial world. This explains the interest of a person in such cultural forms that could help him overcome such conflicts and sublimate the energy of the denial of the environment into unconditionally positive, creatively productive facts of life. According to N.A. Khrenov, the spectacle becomes such an actual cultural form of the era of transition. It is the spectacle that is activated "... in situations of extreme social and cultural tension, giving rise to Chaos, and then overcoming it through the reorganization of Order"199. As A.V. Kostina notes, spectacular layers have a huge positive potential, harmonize a person and society, neutralize the destructive forces that are inherent at this stage both to the person himself and to social systems. That is why, according to scientists, the spectacle and spectacular forms are especially in demand in crisis situations.

CHARITABLE FOUNDATION "NOVIY VEK"
I approve:
Chairman of the Board of Directors
Charitable Foundation
"New Age"
N.V. Basalaeva

MAIN SECTIONS OF THE REGULATION

1. Relevance and positive aspects of the project.
2. General provisions(governing bodies, organizing committee, jury and partners).
3. Goals and objectives of the festival.
4. Conditions of participation and nominations of festival competitions.
5. Structure and timing of the festival (main stages).
6. Award fund, laureates and winners of competitions.
7. Criteria for evaluating the competitive works of authors and performers.
8. Media partners of the festival.

1. RELEVANCE AND POSITIVE SIDES OF THE PROJECT

Thinking and acting, feeling and creating, imagining and fantasizing, acquiring true moral, moral and spiritual values ​​... constantly and tirelessly working on yourself, constantly working on your own mistakes, without fail acquiring eternal human values ​​in order to become stronger, more necessary and better today, than yesterday to change the world for the better tomorrow...
This is what the greatest of the arts, Literature, teaches us!
Due to the fact that in the modern literary space of the city of Novosibirsk and the NSO there is clearly a need to support the creativity of young writers, both in terms of popularizing their activities in general, and in terms of publishing the best works of specific authors in particular ... And also in order to create effective and effective tools that form a stable, conscious need for reading literary works among the country's youth. Including the works of our Novosibirsk authors from the youth environment ...
The New Age Charitable Foundation has established an annual regional literary and musical festival aimed at solving the above problems, which today are a sign of the times and a clear sign of a developed multinational democratic state that occupies a leading position in the field of world culture and art.
The festival is called - "Hope"!
In the name of the festival, we see a multifaceted interweaving of the brilliant hopes of the Authors and Creators for success and recognition, for society to understand their emotional experiences and reflections, for high artistic results and the appreciation of their work by contemporaries ... It also contains the universal concept of Hope, associated with an active life position oriented to affirm "the kingdom of love, freedom, justice and goodness".
We acted as the organizers of the festival "HOPE". We offered to support our initiative to organizations working in the field of culture and art and to participate in its organization and implementation - and our HOPES CORRECTED!

2. GENERAL PROVISIONS

2.1. FOUNDER OF THE FESTIVAL: Charitable Foundation "New Age".

2.2. ORGANIZERS OF THE FESTIVAL:
Charitable Foundation "New Age"
Novosibirsk branch of the Writers' Union of Russia
Novosibirsk Regional Youth Library

2.3. OFFICIAL PARTNERS OF THE FESTIVAL:
NOOO "Creativity"
Literary club "Pervosnezhnik"
Literary association "Youth"
Association "League of Free Authors"
Siberian Foundation for the perpetuation of the memory of V. Vysotsky
Literary almanac "Sinilga"

2.4. ORGANIZING COMMITTEE OF THE FESTIVAL: For the organization, holding of the festival and summarizing its results, an Organizing Committee is created, the main tasks of which are:
General management of the festival, summing up the results of the festival.
Consulting and methodological assistance to the participants of the festival.
Collection, analysis, systematization and distribution of materials about the festival.
Formation of the jury to evaluate the works and determine the winners of the competitions.
Organization and holding of the closing ceremony of the festival.

Composition of the organizing committee:
Basalaeva Angelina Anatolievna- chairman of the organizing committee
Zharkova Ludmila Konstantinovna- artistic reading
Mann Tatyana Evgenievna- poetry and prose
Bocharov Vladimir Nikolaevich- original song

2.5. FESTIVAL JURY:
To evaluate the works of the contestants and the performances performed by the contestants, a professional jury was formed from among well-known Novosibirsk authors, performers, cultural and art figures, consisting of: Nomination "Prose":
Shalin Anatoly Borisovich- Chairman of the jury, Chairman of the Novosibirsk Writers' Organization of the Writers' Union of Russia.
Nomination "Poetry":
Martyshev Evgeny Fyodorovich- Chairman of the jury of the nomination, member of the Writers' Union of Russia, member of the Petrovsky Academy of Sciences and Arts.
Nomination "Author's song":
Gordeev Timur Eduardovich- Chairman of the jury of the nomination, laureate of all-Russian, all-Union and international competitions, soloist of the Novosibirsk State Philharmonic.
Nomination "Artistic reading":
Lemeshonok Vladimir Evgenievich- Chairman of the jury of the nomination, (Honored Artist of the Russian Federation).

2.6. FESTIVAL PRESS CENTER:
Olga Rakhvalova, Dmitry Bocharov, Marina Vdovik. Tel. 210-11-08

3. GOALS AND OBJECTIVES OF THE FESTIVAL

3.1. The purpose of the festival is to unite efforts broad circles the public, residents of Novosibirsk and NSO, representatives of the legislative and executive authorities, the business community of the region, public organizations, honored workers of culture, science and art, other personalities and organizations in solving problems of stimulating and supporting the creativity of Novosibirsk authors and performers, as well as in the issue of promoting literary creativity and performing skills, as the most important component of the spiritual health of the nation and the moral foundation of modern society.

3.2. Festival objectives:
to develop and carry out a set of activities aimed at increasing the interest of authors in achieving the heights of writing skills. Conduct festival competitions in 4 nominations among authors and performers.
create an opportunity for self-realization and disclosure of the intellectual and creative potential of young authors.
determine and encourage the winners of the festival competitions from the funds of the Festival Award Fund, and from other sources, and by other means.
to promote the formation of reader interests aimed at reading modern literature of various genres - to involve the media of the region and other resources in the issue of covering the events of the festival, and the creativity of the festival participants.
organize and hold a solemn ceremony of awarding the winners of competitions and laureates of the festival, as well as a thematic event (gala concert), together with famous performers of the city of genres and forms of creativity corresponding to the festival. organize and hold a working meeting with representatives of the community of stakeholders on further development festival, raising the status of the festival and strengthening its capabilities, from among potential co-builders, sponsors, partners.

4. CONDITIONS OF PARTICIPATION AND NOMINATION OF FESTIVAL COMPETITIONS

4.1. Residents of the Novosibirsk region and the city of Novosibirsk (including representatives of literary associations and creative groups) aged 14 to 40 can take part in the festival.

4.2. To participate in the competitions of the festival, a potential participant must fill out and send to the organizing committee by e-mail an Application for participation in the festival "Nadezhda" of the appropriate sample.

Application for participation in the festival "Hope"

4.3. Applications for participation in the competitions of the festival are accepted until May 31, 2015 by e-mail.
Recipient address - e-mail: [email protected]
Indicate the subject of the letter: APPLICATION_ "Festival" Hope ".

4.4. For the official registration of a participant in the competition, a potential participant must:

In "POETRY" nomination
Submit to the organizing committee in printed and / or electronic format a selection of 3 to 10 poems.

In "PROSE"
Submit to the organizing committee in printed and / or electronic format either one finished work - a story, a story, or a fragment of the story and a summary of the plot of the story.
Each work must be signed (full name and age of the author, nomination, title of the work).

In the nomination "Author's SONG"
Submit to the organizing committee for compliance with the format of the festival (by e-mail, or on CD / DVD-carrier) the texts of at least two songs declared for public performance and for judging by the jury of the competition.
The submission of the claimed works in audio and video format is encouraged, but not required.
Each work must be signed (full name and age of the author, nomination, title of the work).

In the nomination "Artistic READING"
/in case of execution own works/. Submit to the organizing committee for compliance with the format of the festival (by e-mail, or on CD / DVD-media) texts of at least two, but not more than 3, declared for public performance, and for judging by the jury of works and / or fragments of works (no more than 5 minutes of total time).

/in case of performance of works by third-party authors/. To provide the Organizing Committee for compliance with the format of the festival (by e-mail, or on CD / DVD-carrier) the names of the authors, titles and texts of works, at least two, but not more than 3, declared for public performance, and for the jury of the competition (no more than 5 minutes total time).

The submission of the claimed works in audio and video format is encouraged, but not required.
Each work must be signed (full name and age of the author, nomination, title of the work).

4.5. If the conditions of clause 4.2, clause 4.3, clause 4.4 are met, and if the parameters of clause 4.1 are met. potential participants are considered registered contestants.

4.6. The contestant has the right to apply for participation in several nominations, but not more than 1 application in one of them.

5. STRUCTURE AND DATE OF THE FESTIVAL

5.1. LMF "Hope" is held from October 10, 2014 to March 30, 2015 and consists of three main stages, each of which is an integral part of it:

II STAGE (April 2015)
According to the results of the preliminary selection, 10 finalists in each nomination are selected and allowed to the final.
The winners of the final rounds are laureates of the festival and are awarded Diplomas of laureates of the festival.
Conducting the FINAL rounds of competitions in nominations, awarding the finalists of the competitions with Diplomas of the Participants of the festival "Hope - 2015"):

"Artistic READING":
Karaoke restaurant "Exupery", Airport street, 88
First decade of April.
"Author's SONG"
Karaoke restaurant "Exupery", Aeroport st., 88
First decade of April.
The works of the finalists of the nominations "POETRY" and "PROSE" are evaluated by the jury remotely, the names of the winners of the competitions are announced on the page of the festival "Nadezhda", on the website www.site of the Novosibirsk Regional Youth Library no later than April 30, 2015.

STAGE III (April 2015)
Awarding of the winners of the festival competitions, the solemn closing ceremony of the LMF "Nadezhda-2015", a joint gala concert of the festival participants and popular Novosibirsk performers):
WHITE HALL OF THE CLUB "PILOT", STR. AIRPORT, 88
Third decade of April

6. AWARD FUND, LAUREATES AND WINNERS OF FESTIVAL COMPETITIONS

6.2. The printed edition of the collection "Hope-2015" is distributed among the winners of the festival competitions in all categories.

6.3. The winners of the qualifying rounds in all nominations are laureates of the festival competitions, and are awarded Diplomas at the final meeting.

6.4. The winners of the final rounds in all nominations are laureates of the festival, and are awarded at the Solemn awarding ceremony with Diplomas and prizes.

7.1. Nomination "POETRY", "PROSE", "Author's SONG" (main criteria)
emotion and depth psychological impact, artistic expressiveness of creative techniques, the presence of vivid and accurate images and comparisons.
the relevance of the theme of the work and its artistic integrity.
the presence in the work of original creative finds, vivid images and other means of expression.
literary literacy and creative maturity of the author.

7.2. Nomination "Artistic READING"
the depth of development of the proposed circumstances and "immersion" in the material of the work.
emotionality and depth of psychological impact, artistic expressiveness of the performer's creative techniques.
the performer has professional skills of stage and speech culture.
compliance of the performer's expressive means with the genre, style and ethical parameters of the work.
other options.

7.3. The winners of competitions in all nominations are determined by summing up the points given by all members of the jury.

8. INFORMATION PARTNERS OF THE FESTIVAL

8.1. Information support is provided by the websites of the project partners, the websites of literary associations with links to the Festival and the city's media.

ORGANIZING COMMITTEE OF THE FESTIVAL "HOPE - 2015"
8-952-902-30-31 - chairman of the org. Committee Basalaeva Angelina Anatolyevna
210-11-08; 8-951-914-44-81 - Tatyana Evgenievna Mann - prose and poetry
8-913-932-64-21 - Zharkova Lyudmila Konstantinovna - artistic reading
214-24-36 - Bocharov Vladimir Nikolaevich - author's song