Coursework process of social animation services. Socio-cultural animation as a means of rehabilitation of people with disabilities G.V. Ganshina, E.D. Shlyapina Animation technologies for socio-cultural activities

COURSE WORK

in the discipline "Technologies of socio-cultural animation and recreation"

Topic: “Features of animation programs for youth”

Completed by student 22-07
groups

Pukhovskaya M.A. Checked by Associate Professor: Kurapina E.V.

Eagle – 2016

Introduction. 2

Chapter 1. Theoretical basis socio-cultural animation. 4

1.1. Socio-cultural animation as a type of leisure activity. 4

1.2. Principles of animation and recreational technologies. 12

Chapter 2. Implementation of animation programs for youth. 17

2.1. Technology for creating animation programs for youth. 17

2.2. Scenario of the animated program “Let's applaud love” for young people. 24

Conclusion. 32

List of used literature... 35

Introduction

The sphere of youth leisure has its own characteristics. The leisure of young people differs significantly from the leisure of other age groups due to its specific spiritual and physical needs and its inherent social and psychological characteristics. Such features include increased emotional and physical mobility, dynamic mood swings, visual and intellectual sensitivity. Young people are attracted to everything new and unknown. Specific features of youth include the predominance of search activity. Most characteristic feature youth leisure is an increase in the share of spiritual forms and ways of spending free time, combining entertainment, saturation with information, the possibility of creativity and learning new things. Young people are active, dynamic and accustomed to outdoor activities, and it is necessary to develop animation programs that would involve young people in various types of socio-cultural activities.

The entertainment and leisure sector plays an important role in the overall infrastructure of socio-cultural activities and solves various problems (primarily education, the formation of an optimistic mood, education, recreation, development of people’s culture). Filling your leisure time with entertainment and sports, a person relaxes and recuperates.

Animation is a relatively new area of ​​activity that involves personal participation in game and theatrical show programs, sports, cultural and entertainment events. diversify your clients' holidays. In the modern sociocultural situation, issues of organizing animation activities occupy an important place. Cultural and leisure activities are the most important component and type of animation. Today, the methodology of animation and recreational technologies for socio-cultural activities is of interest and the need for studying and researching problems.

Purpose course work is to identify the features of animation programs for youth.

An object course work: youth audience;

Item course work: animation programs for youth.

Coursework objectives:

1. Consider animation as a type of leisure activity;

2. Identify the principles of animation and recreational technologies in socio-cultural activities;

3. Consider the technology for creating an animation program;

4. Develop an animation program.

Course work consists of an introduction, two chapters, a conclusion, and a list of references.

Chapter 1. Theoretical foundations of socio-cultural animation

Socio-cultural animation as a type of leisure activity

Animation in the generally accepted sense is considered a certain type of activity that pursues the goals of developing and presenting special programs for spending free time. Animation programs include sports games and competitions, dance evenings, carnivals, games, hobbies, activities within the sphere of spiritual interests, etc.

Social cultural animation is a special type of socio-cultural activity of public groups and individuals, which is based on modern technologies (socio-pedagogical, psychological, cultural, etc.) that ensure overcoming social and cultural alienation. Technologies of socio-cultural animation offer, in the form of the main methods of “revitalizing” and “spiritualizing” relations between people, the extensive use of public spiritual and cultural values, traditional types and genres of artistic creativity, thereby providing individuals with certain conditions for inclusion in creative, recreational, educational , entertainment and other types of socio-cultural activities.

In the process of entertainment, a person or a group of people satisfy their specific spiritual needs, evaluate their own personality and also analyze their role on the scale of various subsystems. A variety of entertainment processes can occur in both natural and artificial environments. The main goals of the entertainment industry are to create certain conditions for entertainment, in other words, a set of phenomena on the presence of which the entire entertainment process will depend.

The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of people’s needs under existing conditions. By solving multifaceted problems such as upbringing, the formation of an optimistic mood, education, as well as recreation and the development of human culture, the entertainment industry essentially shapes and develops personality. By filling part of his leisure time with entertainment, a person restores himself as a work unit.

The entertainment industry is an independent, relatively isolated unit economic system, attracting quite significant, both material, financial and labor resources. In this matter, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, personnel. Socio-cultural animation is one of the main links in the general entertainment industry, using specialized techniques and techniques.

Socio-cultural animation is, at its core, a pedagogy of understanding and mediation, designed to affirm relations of equality, overcoming hierarchical subordination, establishing personal relationships on the basis of greater freedom and independence, providing individual choice in activity, creativity and communication.

Most modern technologies of socio-cultural animation involve a comprehensive solution to a variety of human problems, giving him the opportunity to self-identify as a full representative of a particular socio-cultural and leisure community, as well as providing conditions for involvement in educational, creative, recreational and other types of socio-cultural activities.

In socio-cultural animation there is an absolutely bizarre interweaving of philosophical and worldview approaches and various applied practices. With all this, socio-cultural animation widely uses traditional types and genres of artistic creativity in the form of the main methods of “revitalizing and spiritualizing” relationships between people; it is this approach to the problem that today allows socio-cultural animation to be recognized as an innovative direction in order to develop socio-cultural activities.

Organizing a thematic event within the framework of socio-cultural animation is a creative and complex undertaking. When organizing thematic events, animators should show maximum ingenuity and imagination, make sure that it is presented in a bright emotional form, so that no one leaves the evening indifferent.

Along with oral presentations, visual and artistic illustrations are usually widely used, complementing and enriching each individual presentation and the entire topic. It’s good when new working methods, product samples, working machine models, diagrams, diagrams are demonstrated, scenes from plays, fragments from films, works of fine art are shown, and various pieces of music are performed.

According to the socio-psychological situation underlying it, a theatrical theme evening is extremely close to a mass outdoor celebration. It is no coincidence that such evenings, usually held by clubs on holidays or dedicated to the most important events in the life of a given group, village, city, country, give rise to a festive state of a person. Availability of special psychological state mass of people pouring into a festive situation creates a need for a form of mass club work that would make people experience emotional shock and encourage active mass action. Obviously, not every theme night at a club should be like this, although they are all theatrical to one degree or another, that is, built according to the laws of the theater, which is dictated by their mandatory script basis.

Thus, a thematic event differs from other events not only in the presence of a theme and a program that reveals it, but also in the close merging of information-logical and emotional-figurative lines in a single scenario. The range of theme nights is very wide. It can represent the simplest illustrative combination of informational-logical and emotional-imaginative principles, but it can develop into a synthetic theatrical mass performance. Everything that happens in a thematic animation program is aimed at something specific, for example, it is dedicated to a famous person, a holiday, an important historical date, etc.

A thematic animation program is an event, story, action aimed at a specific topic or issue. Everything that happens in this program must correspond to the chosen topic.

A thematic animation program must be based on a script, i.e. detailed literary development content of the thematic evening, in which the individual elements of the action are set out in strict sequence, the theme is revealed, the author’s transitions from one part of the action to another are shown, the approximate direction of all journalistic speeches is given, the used works of art or excerpts from them, means are provided to increase the activity of participants, design and special equipment of the club premises. The absence of a carefully developed script for the event, replacing it only with a script or director's plan for the future event, leads to disproportion and inconsistency of its individual parts, their mechanical connection, impoverishment of expressive possibilities and insufficient disclosure of the idea of ​​the theme evening. A professional approach to work, in particular to holding thematic events, requires today's animators to be able to draw up a script and implement it.

Let's consider the main stages of working on the script for a thematic event. At the beginning of the work, it is necessary to come up with an ideological and thematic basis for the future event; the theme and idea are clearly defined. In animation practice, these concepts are often underestimated, mixed, replaced by one another, which inevitably affects the quality of the script.

Theme is a range of life phenomena selected and highlighted by the author in the script. In other words, the topic is what the author wants to tell the evening participants about.

The idea of ​​the script, which has become the author’s point of view, serves as the core for the selection of documentary and artistic material, represents the conflict, composition, figurative structure, and selection of speakers. The vagueness of the idea, as a rule, results in the vagueness of the script and its main semantic accents.

The theme is usually set from the very beginning, and the screenwriter and director must lead the participants and spectators of the theatrical action to the idea, as the general main conclusion. Common mistake Some practical workers are that they often try to present the idea in a ready-made form from the very beginning of the thematic event. Meanwhile, the task is to awaken an active perception of the action, to force everyone to become involved in the events and to comprehend for themselves the idea to which the development of the action is subordinated. In this creative process, the viewer becomes a participant in the mass event.

The theme and idea are inextricably linked with each other and together create the ideological and thematic basis of the script. However, to create a club scenario, like any other literary work, defining its topic is not enough. Scripts often lack a specific plot, i.e. the main events that develop during the course of the action, a chain of events built on the conflict.

The search for a bright, interesting plot is an integral part of working on a script, an important requirement of club drama. Having chosen a plot for a mass event, you need to organize artistic and journalistic material so that the plot develops from event to event, in stage action.

A thematic event is an ideologically and plot-organized unity, a coherent chain of oral presentations, actions, visual images, merged within the framework of the plot by the screenwriter and director's plan. The development of the plot in a theme evening scenario is impossible without defining and developing the conflict. It can be expressed in people overcoming difficulties and obstacles in achieving certain goals. If the theme of the script is chosen, the idea is determined, the plot is found. The next step is to develop the composition of the future script, i.e., the implementation of the conflict, the development of the plot in the stage action. Composition is the organization of action, and therefore the appropriate arrangement of material.

At the beginning of the script, exposition is necessary, that is, a short story about the events that preceded the conflict and caused it. The exposition in the script usually builds into the plot. The exposition and plot should be extremely clear and concise. They carry a great psychological load, as they focus the viewer’s attention, prepare him to perceive the action, and set him in a certain mood.

The next part of the scenario composition is the main action, i.e. the depiction of the process of struggle, its vicissitudes, the chain of events and clashes in which the conflict is resolved. The main action usually breaks up into a chain of interconnected and interdependent episodes. Each of them has its own logic, its own internal composition, through which the idea and theme of the script run like a red thread. These are surrounding events with roles and paraphernalia, a thematic selection of music and venue. In this event, guests become direct participants in the program, its characters in carefully designed images.

Strict logic in plot construction and conflict development. Each episode of the script must be logically conditioned, connected by semantic bridges with the previous and subsequent ones. Note, however, that consistency does not necessarily mean chronological sequence, as is often understood by the authors of club scripts.

Gradual increase in action. The action set by the exposition-commencement should develop along a rising line towards a climax and denouement.

The completion of each individual episode. The script always consists of episodes. Each of them has an internal logic of construction and must be completed before the other begins. In miniature, each episode must repeat all the elements of the script, the finished composition.

The action must necessarily be brought to a climax, that is, to its highest point. At the moment of climax, the idea of ​​a club theatrical performance finds its most concentrated expression. After the climax there should be a denouement - the end of the action. This is a very important part of the composition; its absence or incompleteness leaves a feeling of incompleteness of the entire event. The finale carries a special meaning, since it is the most advantageous moment for maximum manifestation of the activity of participants in a mass event. A common form of finale in a mass event is a joint performance on stage by all performers, collective mass singing, acceptance of a letter, an oath, an appeal.

To ensure that the selected material does not represent a “ragged montage”, does not suffer from excessive diversity, and is a harmonious work, it is important to process the joints between episodes. Successful editing creates a feeling of integrity, the fusion of two completely different elements: a song and film footage, music and a dramatic fragment, merging together an artistic illustration and a documentary performance.

Thus, socio-cultural animation today is one of the most rapidly developing areas of modern socio-cultural activity, involving the implementation of programs of creative rehabilitation, active recreation, socio-psychological consolidation of public groups based on cultural values.

1. The concept of “animation” and “socio-cultural animation”
2. general characteristics basic methods, functions and tasks of socio-cultural animation

The concept of "animation" is of Latin origin. (anita – wind, air, soul; animatus animation) and means inspiration, spiritualization, stimulation of vital forces, involvement in activity.

In the Tourist Terminological Dictionary I.V. Zorina and V.A. Kvartalnova Animation is an operating complex for the development and provision of special programs for spending free time.

Animation activities– this is an activity for the formation, promotion and implementation of animation programs for various purposes, providing interesting and developing leisure time. Scientists argue that the development of modern civilization in our time depends not so much on scientific and technological progress, but on human improvement. The active development of social and industrial relations by an individual depends directly on cultural and moral development. Here leisure takes on special importance. IN modern conditions free time is a real asset. Therefore, a specialist dealing with the organization of a person’s free time must take into account the progressive dynamics of production, the environmental danger of existence and life, and the influence of new means mass media and a growing number of leisure opportunities. Socio-cultural animation is becoming one of these young branches of social psychology and pedagogy.

In the second half of the twentieth century, the term “animation” (from the Latin anumation - to revive, inspire, spiritualize) immediately began to be used in several meanings:

1) Animation– artistic activity to create cartoons;

2) Animation- a special type of cultural and leisure activity aimed at provoking and enhancing a keen interest in culture and artistic creativity.

As can be seen from the above definitions, the same term denotes completely different types activities, which leads to some confusion. Perhaps it makes sense to leave the term "animation" for the creators animated films, and in the sphere of socio-cultural activities, use the concept of “socio-cultural animation”, which would involve activities for the formation, promotion and implementation of leisure programs for various purposes: from relaxation and health to cultural, educational and creative.

Socio-cultural animation is one of the relatively young branches of socio-cultural activity.

Socio-cultural animation is a special type of cultural and leisure activity of public groups and individuals, based on modern humanistic technologies for overcoming social and cultural alienation. Thus, the main goal of socio-cultural animation will be to overcome personal tendencies towards social disintegration (prevention of socio-psychological deviations, for example, deviant behavior of adolescents, drug addiction, alcoholism, etc.), rehabilitation of critical states of the individual and assistance to the creative self-realization of the individual.

Socio-cultural animation uses traditional types and genres of artistic creativity (theater, choreography, plastic arts) as the main methods of “revitalizing” and “spiritualizing” relationships between people. This is what allows us today to recognize socio-cultural animation as the most progressive direction in the development of cultural and leisure activities.

The pedagogical aspect of socio-cultural animation lies in the regulation of the processes of socialization and individualization of a person, that is, in social education and development, carried out in the forms of leisure activities and aimed at solving the following cultural and educational tasks:

- purposeful introduction of a person to the riches of culture, the formation of his value orientations and the “elevation” of spiritual needs;

- stimulating social activity, initiative and initiative of a person in the field of leisure, increasing his leisure qualifications, that is, the ability to rationally, meaningfully and variedly organize his free time in order to maintain physical and spiritual health and self-improvement;

- creating conditions for identifying and developing the individual’s abilities, realizing his creative potential and positive self-affirmation.

Having generalized the theoretical ideas of animation and the experience of organizing the socio-cultural activities of animators in France, E.B. Mambekov gave the following detailed definition: “Sociocultural animation is part of the cultural and educational system of society and can be presented in the form of a special model for organizing sociocultural activities:

As a set of elements (institutions, government bodies, organizations, voluntary associations, animators, audiences) that are in constant relationships that characterize this model;

As a set of occupations, activities and relationships that correspond to the interests expressed by an individual in his cultural life and, especially in his free time,

As a unique socio-pedagogical system in which the leading role is played by animators, professional or voluntary, with special training and, as a rule, using active pedagogy methods.”

Thus, socio-cultural animation can be considered as an integral socio-cultural system that has an appropriate institutional subsystem, resource base, specific content and technologies (methods) of animation activities. In this respect, socio-cultural animation is fully consistent with modern Russian socio-cultural activities.

There are quite a few different definitions of the concept of socio-cultural animation, one of them is given by N. N. Yaroshenko. Sociocultural animation (animation) is a special type of sociocultural activity of public groups and individuals, based on modern technologies (social, pedagogical, psychological, cultural, etc.) that ensure overcoming social and cultural alienation.

M. Simoneau gives the following definition: “Socio-cultural animation is an area public life, the participants of which set themselves the goal of certain changes in behavior and interpersonal and collective relationships through direct influence on individuals. These influences are carried out mainly through a variety of activities using pedagogy of non-directive or active methods.”

Having analyzed the definitions of socio-cultural animation from the above authors, we can conclude that the unifying elements of all these definitions are:

Social groups or individuals of society;

Various methods(social, pedagogical, psychological, etc.);

Social behavior of people.

These elements indicate that socio-cultural animation is associated, first of all, with socialization.

And here, animation acts as a unique service for organizing leisure time, pursuing the goal of improving the quality of service for consumers of leisure services, and at the same time, it is a unique form of advertising, re-attracting enterprises in the social and cultural sphere.

Socio-cultural animation covers a wide field of activity:

Animation programs during meals in the context of stylized dinners and banquets rooted in history and national traditions;

Animation programs during excursions;

Sports and recreational animation programs;

Animation programs during tourist trips;

Cultural and historical holidays, mass theatrical performances, festivals, fairs and carnivals;

Museum animation programs with a wide range of possibilities: from cultural dramatizations to historical reconstructions;

Animation programs for organizing family and corporate holiday events;

Tourist and hotel animation.

2. General characteristics of the main methods, functions and tasks of socio-cultural animation

Based on the essential properties of socio-cultural animation, on their content characteristics, we can determine the basic structure of the functions of socio-cultural animation:

Recreation function - involves the restoration and development of a person’s physical and spiritual strength in the process of rest;

The relaxation function is responsible for restoring the energy expenditure of the individual, relieving stress, tension, and returning to a state of mental balance;

The communication function is implemented as a way to “revitalize” and “spiritualize” interpersonal and intergroup relationships, forms productive communication, and enriches the experience of interaction in society;

The adaptation function is implemented as a process of psychological adaptation to new living conditions, social norms and rules, a value system, and promotes the development of navigation skills in the social environment;

The correction function involves the implementation of a mechanism for “correcting” the internal state, as well as overcoming negative moods and emotions, anomalies in personality development;

The regeneration function is implemented in the process of sociocultural animation through the restoration and accumulation of positive emotions, creating and maintaining a good mood;

The reconstruction function is realized through the recreation and reproduction of forgotten sensations and emotional states of the soul; contributes to the revival of comfortable states of mind in the process of animation, as well as the resumption of socio-spiritual connections between the individual and society [Kurilo L.V., p.67].

Among basic principles, on the basis of which animation work is built, N. N. Yaroshenko identifies the following:

Man must be studied and accepted in his entirety;

Each person is unique, so the analysis of individual cases is no less justified than statistical generalizations;

A person is open to the world, a person’s experience of the world and himself in the world is the main psychological reality;

Human life should be considered as a single process of human formation and existence;

Man is endowed with the potential for development and self-realization, which are part of his nature;

A person has a certain degree of freedom from external determination thanks to the meanings and values ​​that guide him in his choice;

Man is an active, intentional, creative entity striving for self-actualization.

In addition to the principles of socio-cultural animation, N. N. Yaroshenko also highlights it tasks:

A comprehensive assessment of a crisis situation, helping the individual understand the value implications of the situation (what is good and what is bad);

Help in determining and understanding which method of action in a particular situation is suitable to achieve the desired goal;

Bringing the individual to the need to understand the irrational overtones of the situation, i.e. the forces that stand behind openly manifested desire, awareness of one’s own unconscious desires;

Identification and assistance in understanding the real possibilities between which there is a choice;

Help in understanding the consequences that a decision will entail in a particular case;

Bringing the individual to the realization that awareness as such cannot change a crisis situation without the desire to act.

The task of socio-cultural animation is not only to study the conditions that lead to a particular human development, but also to identify socio-cultural technologies and methods that can be used to promote favorable development and overcome negative trends.

Socio-cultural animation allows us to solve the problem of providing conditions for the comprehensive free development of the individual, his creative self-expression, and also creates conditions for effective control in the field of culture.

Software animation impact on a person during his leisure time in a complex solves the problem of formation, development, preservation and restoration of his health: somatic physical, mental and moral. It is these types of health that determine the typology of areas of sociocultural animation, which is presented in Table 1.

Table 1 – Typology of areas of sociocultural animation

In each of the above types of animation programs, you can use various forms of animation activities, which are presented in Table 2.

Table 2 – Typology of animation classes

These types of animation programs have an economic and social effect, which includes:

1. Saving working time and reducing medical care costs by reducing hospital and clinic stays.

2. Reducing temporary disability through disease prevention;

3. Increase in production volume and national income due to:

Increased labor productivity;

Reducing mortality in working age.

The methodology for a comprehensive assessment of the socio-cultural situation of the life of individuals and social groups is based on a holistic study of:

a) the state of the social conditions of the individual’s life;

b) psychophysical state of the individual (tests of intellectual development, self-esteem, etc.)

c) the state of socio-psychological relations in the process of joint activity (sociometry, interpersonal diagnostics by T. Leary, etc.);

d) value-semantic relations of the individual.

e) promising programs of socio-cultural animation (work with the population of a local territorial and cultural entity; animation in single-parent families with talented, gifted children; animation work in the community, etc.)

Thus, socio-cultural animation plays the role of stimulating full-fledged recreational and leisure activities of a person by influencing his vitality through inspiration and spirituality. This type of activity has already become an integral part of life. modern man.

Lecture: “Recreational animation programs: Essence and typology”

Recreation presupposes the inclusion of a person in specific activities that enrich the personality. This circumstance is the main significant difference between recreational activities and leisure activities, since leisure activities do not have a pronounced value orientation, since it can include both positive and negative, personality-destructive types of activity (for example, hooliganism). However, only types of activities that create a healing, restorative effect are recreational, that is, constructive, positive, socially justified types of activities. Recreational activity is a leisure activity that is enjoyable and has socially acceptable qualities.

In the Encyclopedia of Tourism, recreation is defined as “1) expanded reproduction of human powers (physical, intellectual and emotional); 2) any game, entertainment, etc., used to restore physical and mental strength; H) the fastest growing segment of the leisure industry, associated with the participation of the population in active outdoor recreation, occurring mainly on the weekend; 4) restructuring of the body and human populations, providing the possibility of active activity under various conditions, nature and changes in the environment.”

The concept of “recreation” is closely related to the concept of “rest”.

Rest - this is a means by which restoration (recreation) of a person’s strength and performance occurs (for example, doctors consider sleep to be the most productive rest). Thus, leisure is only a part of rest, since it does not include time for sleep and other immutable costs that can be called rest.

Of interest in human activity is cultural leisure , which can be considered as a creative process: free choice of cultural activities, artistic creativity, familiarization with the best examples of art, tourism, self-organization of leisure.

There are many different typologies of modern leisure. The most significant of them are: dividing leisure into active; daily, weekly, vacation, holiday; domestic and non-domestic; individually organized and collective-organizational.

The concept of “animation” is very closely connected with the concept of “leisure” in our time.

The difference between the concepts of “animation”, “recreational animation”, “hotel animation”, “tourist animation” is associated with the variety of existing forms and programs of leisure animation activities. This diversity affects not only the hotel business and the formation of tourist routes, but also in general the organization of leisure time for people in modern life: Therefore, we can talk about animation programs of city and municipal, club and park, industrial and educational institutions. Here we will talk about recreational, tourist and hotel animation, so we will distinguish between these concepts.

Figure 1 – Typology of animation

Recreational animation – a type of leisure activity aimed at restoring a person’s spiritual and physical strength. Programs implemented for recreational purposes can be carried out both by tourism enterprises with tourists and guests, and by leisure establishments with local residents. This gives us the right to assert that the concept of “recreational animation” is broader than the concepts of “tourist animation” and “hotel animation”.

Tourist animation is a type of tourism activity carried out at a tourist enterprise (tour complex, hotel) on a vehicle (cruise ship, train, bus, etc.) or at the place of stay of tourists (in a city square, in a theater or city park, etc. .), which involves tourists in a variety of activities through participation in specially designed leisure programs. In other words, tourist animation is a tourist service, during the provision of which the tourist is involved in active action. When preparing animation programs, such characteristics of tourists as nationality, age, gender, number (individual, group, mass), as well as the activity of tourist participation are taken into account.

Tourist animation is divided into three main types according to the importance, priority and volume of animation programs in the overall travel program (in the tourist product):

First type. Animated tourist routes – targeted tourist trips for the sake of one animation program, or a continuous animation process deployed in space in the form of travel, moving from one animation service (program) to another, which are provided in different geographical locations.

In this case, the animation program is targeted, priority and dominant in the tour package of services, not only in physical volume, but also in content that stimulates mental strength. Such an animation program is a pricing factor in the tourism product. Typically, such programs are intended for individual tourists or homogeneous tourist groups united by a common interest (professional, hobby).

Such animation programs include: cultural, educational and thematic, folklore and literary, musical and theatrical, art history and scientific, festival, carnival and sports, or, for example, tours of casino centers located in different countries, organized for fans of casino games.

Second type. Additional animation services during technological breaks - programs designed to “support” the basic tourist services specified in the tour package, and operating in circumstances caused by travel, travel delays and in cases of bad weather (when organizing sports and amateur tours, at beach resorts), as well as in in case of lack of snow at ski resorts, etc.

Third type. Hotel animation – a comprehensive recreational service based on personal human contacts between the tour operator and the tourist and their joint participation in the entertainment offered by the animation program of the tourist complex. This type of animation aims to implement a new philosophy of hotel service - improving the quality and provision of services and the level of tourist satisfaction with their vacation. In the hotel's marketing strategy, such animation is used as one of the main attractive services.

Hotel animation is the narrowest concept of the three considered, since it only involves the organization of leisure in places where tourists are accommodated: tourist complexes, hotels, inns, tourist centers, etc. In other words, hotel animation is a leisure activity offered by hotels, hotels, tourist complexes. This is the most significant part of tourist animation. Animation programs vary depending on the organization of recreation (in clubs, hotels of different purposes and of different sizes).

Types of animation as elements of animation programs.

From the point of view of a systematic approach, tourist animation is the satisfaction of specific tourist needs in communication, movement, culture, creativity, a pleasant time, entertainment. The range of these needs is very wide, since people going on vacation put completely different meanings into this concept: for some rest is traveling, for others it is reading books, walking in the forest, fishing, etc. According to the demand and motivation for travel in the practice of tourist services, the following develop: types of animation, satisfying the various needs of tourists (vacationers):

- animation in motion– satisfies the modern person’s need for movement, combined with pleasure and pleasant experiences;

- animation through experience– satisfies the need for a feeling of the new, unknown, unexpected when communicating, discovering, and also when overcoming difficulties;

- animation through communication– satisfies the need to communicate with new, interesting people, to discover the inner world of people and to know oneself through communication;

- animation through calming– satisfies people’s need for psychological relief from everyday fatigue through calm, solitude, contact with nature, as well as the need for peace and “idle laziness”;

- cultural animation– satisfies the need of people for the spiritual development of the individual through familiarization with cultural and historical monuments and modern examples of the culture of the country, region, people, nation;

- creative animation– satisfies a person’s need for creativity, demonstrating one’s creative abilities and establishing contacts with like-minded people through joint creativity.

Real animation programs are most often complex in nature, and the listed types of animation are the constituent elements of these programs. Therefore, we have the right to call them recreational animation programs. Recreational and animation programs, along with purely entertainment activities, include a variety of sports games, exercises and competitions. This combination makes these programs more intense, interesting and useful for strengthening and restoring health, therefore, in the relationship between animation and sports, the greatest restorative and health-improving effect is most often achieved.

Animation is a unique service for organizing and conducting leisure programs, with the goal of improving the quality of service, and at the same time, it is a unique form of advertising, re-attracting guests and their acquaintances to social and cultural institutions.

The ultimate goal of animation is a person’s satisfaction with his vacation - his good mood, positive impressions, restoration of moral and physical strength. This is the most important recreational function of animation.

Throughout the history of mankind, connections between entertainment and leisure activities can be traced, from the most ancient times to the present day, but the prerequisites for the emergence of recreational animation programs in their modern understanding are the negative consequences of industrialization and urbanization, in accordance with Figure 2.

Realities of everyday life (daily life)		Consequences of everyday life		People's reaction to everyday life as a source of tourism demand for animation services
Industrialization Urbanization		Ubiquitous technical environment Environmental pollution Monotony of work Increasing life stresses Physical and mental fatigue Lack of time and energy for creativity and favorite activities Increased population density Break with nature Fatigue from the bustle of the city Multiplicity of random connections		Desire: – leave the city for nature; – diversify impressions, touch spiritual values; – get to know and see new people; – move and develop; – communication, competition, etc.

Rice. 2. Prerequisites for the emergence of animation

“The consequence of rapid technical development (industrialization) are factors such as widespread technical environment and environmental pollution, monotony of work, physical and mental fatigue, lack of time and energy for creativity and favorite activities (hobbies). Urbanization has also created various negative consequences: increased urban population density, increased life pressures, fatigue from the multiplicity of random, superficial (anonymous) human contacts in the urban environment.

The reaction to these negative consequences is the desire to leave the city for pure nature, touch spiritual values ​​(history, culture, art), diversify life experiences, eliminate physical and mental fatigue, learn new things, new people, find and express yourself in communication with them , be among your family in an atmosphere of relaxation and entertainment. And as a consequence of this, there is an increased demand for services such as various types of sports and amateur tourism, hobby tours, ecological nature-oriented walks, excursion and entertainment programs, sports, entertainment and medical and rehabilitation services. Thus, the change in the way of life, the lifestyle of modern man, his character labor activity in connection with industrialization and urbanization led to a change in his needs for recreation and, accordingly, to a change in the content of leisure.

The organization of such recreation is associated with the formation and implementation of such entertainment programs (recreational animation programs) that would distract a person from everyday life. life problems, carried out his emotional release, being not only a means of getting rid of fatigue, but also a means of neutralizing the negative aspects of everyday life.”

So, recreational animation programs are comprehensive leisure programs that provide an opportunity to take a break from everyday life problems, provide emotional release, and neutralize the negative aspects of everyday life through the use of various types of animation.

		Recreational animation
Leisure animation (with local residents)				Tourist animation
Educational animation		Value-based animation		Practical-transformative animation		Creative animation

Rice. 3. Typology of leisure animation

Cognitive activity characterized by the assimilation of information and the acquisition of new knowledge as a result of participation in discussions, club classes, theme evenings, lectures, ceremonies, rituals, etc.

Value-oriented activities allows you to acquire, consolidate or modify your attitude to the world around you, your assessment of social phenomena, your own and others’ actions.

Practically transformative activity always aimed at creating and transforming personality based on practical, real actions.

Creativity inherent in all types and forms of leisure activities, it is all-pervasive. In the same time creative activity It also has an autonomous character when it is directly related to art.

Content aspect the social functions of leisure animation are implemented depending on the real state of a particular socio-cultural institution, on the completeness and consistency of its interaction with environment. Structure government system determines the value-oriented base of culture. Consequently, the more valuable the life of an individual became, not reducible to utilitarian activities, the more grounds there are to talk about cultural leisure. Moreover, the latter is understood not just as free, i.e. idle time, but time for the implementation of forms of activity that are significant for the individual, for his self-realization.

Leisure animation is one of the most important means of realizing the essential powers of a person and optimizing the socio-cultural environment that surrounds him. In leisure activities, as a rule, there are moments of transformation, cognition and evaluation. Since leisure animation is multifaceted in nature, corresponding to the diversity of needs, interests and requests of members of society, its social functions are determined by the social purpose and structure of society.

Of the three main recreational functions, leisure animation is designed to directly perform two functions - sports and recreational and educational. “In the practice of animation, for the targeted design of animation programs, the following animation functions can be distinguished:

1. Adaptive allowing you to move from an everyday environment to a free, leisure environment.

2. Compensatory, freeing a person from the physical and mental fatigue of everyday life.

3. Stabilizing creating positive emotions and stimulating mental stability.

4. Wellness, aimed at restoring and developing a person’s physical strength, weakened in everyday work life.

5. Informational allowing you to get new information about the country, region, people, etc.

6. Educational, allowing you to acquire and consolidate new knowledge about the world around you as a result of vivid impressions.

7. Improving, bringing intellectual and physical improvement.

9. Hedonistic(pleasure, pleasure). If the activities are useful, but not enjoyable, they will lose a significant amount of attractiveness for visitors, and along with this, some of the usefulness itself.

Such a variety of functions of the animation service has led to a variety of types of leisure animation, as well as a wide variety of animation programs and events.”

Social features leisure animation are such that significant groups of people are involved in their implementation: organizers of cultural and leisure programs, activists, members of various circles, amateur associations and interest clubs, and the spectators themselves. Influencing inner world and the way of action of a large number of people, leisure animation thereby influences the surrounding reality and becomes an important link in social life. At the same time, the formative impact of leisure animation should be specially organized and conducted according to a specifically developed program by people with professional training. A modern specialist at a socio-cultural institution is “a highly professional leisure organizer.” First of all, it should be said here about the interest in the chosen profession, about the inclination to work with people at leisure, about the awareness of one’s high calling. Unfortunately, very often young men and women, knowing only the external side of this work (thunderous applause at a concert, often the upbeat atmosphere of holidays held in clubs and parks, flowers and music, a cheerful disco program, cozy rooms, etc.), mistakenly believe that they are literally created for this profession. The ability to stimulate and direct people’s activities, to notice and pick up their useful initiatives in a timely manner, to awaken the population’s interest in socially useful activities is the basis of professional excellence.

The practical activities of a socio-cultural institution are structured according to areas of work, and various means of achieving the goal are used. Based on this, we can name functions, directions and means. By carrying out these functions, a socio-cultural institution fulfills its social purpose. This process is nothing more than the implementation of leisure animation programs organized in a certain way, created on a specific topic, with deep socially significant content.

Performing one or another function, a socio-cultural institution, firstly, acts as a spatial and organizational base for informational, educational, artistic, journalistic and cultural and entertainment activities. Secondly, it organizes and conducts educational events on the initiative and with the participation of activists, members of club associations. In terms of content, it is this branch of activity of a socio-cultural institution that is the most multifaceted and rich in content. This same part of the activity covers the largest audience, which is the focus of the activities of not only the socio-cultural institution, but also all organizations interested in creating a specific animation program.

Creation and consolidation of organizational, creative, performing, propaganda, search and research and other tasks that cannot be strictly “packed” into the listed functions, but are also very important. This applies primarily to holiday and ritual programs. Their task is “social design of nodal points” on life path individual or group.

A complete system of leisure animation should be considered as a process of constant development in the inextricable unity of theory, organization and methodology. In this system, one should distinguish not only a clear structure, a set of interconnected and interacting elements fixed at any particular moment, but also its pronounced dynamism of development and improvement of each element. In addition, it should be understood that the leisure animation system includes such complex components that are themselves independent systems: it is a network of social and cultural institutions of various types (club institutions, cultural and recreation parks, museums, libraries, leisure centers, cultural complexes, youth cafes, night clubs, etc.); local authorities and middle and senior management; scientific, secondary and higher educational establishments, institutes and advanced training courses for cultural workers; material and technical base of cultural institutions.

The most effective institution in leisure animation is a club-type social and cultural institution. In club-type cultural institutions, leisure animation becomes systematic and acquires a creative character. A person’s behavior in the sphere of leisure, determined by his mentality, allows us to conclude that in leisure animation a person appears exactly as he could become under other circumstances.

Moscow City Pedagogical University

Keywords

Socio-cultural animation, rehabilitation, self-realization, disability, Socio-cultural animation, rehabilitation, self-realization, disability

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Abstract to the article

The article discusses the problem of socio-cultural rehabilitation of people with disabilities health through the means of animation, the main task of which is to satisfy the human need for rich, varied activities. The essence of animation is the harmonious development of the individual through inclusion in a variety of leisure programs and the actualization of his creative needs.

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Today, the inclusion of people with disabilities in sociocultural life is becoming a priority task of the state. Thanks to thoughtful government policies Russian Federation people with disabilities receive new opportunities for self-realization and integration into society. The social policy of our country puts the task of providing assistance to people with disabilities to the fore, as well as creating opportunities for people with disabilities to realize civil, economic, political and other rights. Federal Law dated November 24, 1995 N 181-FZ (as amended on June 29, 2015) “On the social protection of people with disabilities in the Russian Federation” has formed a new view on solving disability problems, where the main emphasis was placed on the rehabilitation of persons with disabilities. Public policy in relation to people with disabilities is not only medical care, but also ensuring equal rights and freedoms on an equal basis with other citizens of our country. According to this Federal Law, a disabled person is a person who has a health impairment with a persistent disorder of body functions, caused by diseases, consequences of injuries or defects, leading to limitation of life activity and necessitating the need for his social protection. Rehabilitation is aimed at achieving and maintaining optimal physical, intellectual, psychological and social health for a disabled person, a process that provides the opportunity to change life towards a higher level of independence. According to N. Platonova, rehabilitation is a complex of medical, professional, pedagogical, social, legal activities, the main goal of which is the effective and early possible return of sick and disabled people (children and adults) to socially useful activities; formation in them positive attitude to life, study, family. Yu.S. Mozdokov and A.V. Lebedev define sociocultural rehabilitation as a set of measures, the purpose of which is to assist a disabled person in achieving and maintaining an optimal degree of participation in social interaction and aimed at ensuring positive changes in a person’s image and his integration into society. Based on the foregoing, we believe that the disabled environment is a special, specific sociocultural space where the individual self-realizes and self-actualizes. One of the most promising areas of activity when working with people with disabilities from this perspective is socio-cultural animation. Sociocultural animation in modern times Russian society presented primarily as an activity to entertain children and adults, while its true meaning goes beyond this role and includes a number of other important characteristics. the main role socio-cultural animation - to establish an organic connection between man, society and the state and make them factors in each other’s development. Robert Labourie, director of the National Institute of Public Education (INEP), talks about the dualism of the phenomenon of animation and identifies the following methods: adaptation, social therapy and liberation through participation in activities. According to R. Labourie, animation is a special type of socio-cultural activity of public groups and individuals, based on modern technologies (social, pedagogical, psychological, rehabilitation, cultural, etc.) that ensure overcoming social and cultural alienation. Social and cultural animation in modern Russian society is a relatively young direction. Today, animation is becoming an effective type of work with the population, the main goal of which is the implementation of leisure, rehabilitation, psychotherapeutic, entertainment and preventive programs. Developing, sociocultural animation is a priority area, which is due to the wide potential and multifunctionality of animation activities. Animation satisfies human needs for rich, varied activities, communication and creativity, culture and self-development, and is aimed at the formation of a healthy multifaceted personality. Animation programs should help a person optimize his functional state, charge him with positive emotions and give him the opportunity to positively perceive the surrounding reality. Social and cultural animation technologies are successfully implemented within the framework of rehabilitation programs for the disabled. As an example, let's look at the experience of a children's center verbal communication “Varrel”, working with problem children (diseases of the hearing and speech organs). The main concept of the center is the development of communication through the active inclusion of children in socio-cultural activities. The center believes that learning to behave in society, move and speak correctly, and communicate with each other can only be done by creating something with your own hands, i.e. All work is based on an activity approach. Various clubs, including modeling, painting, choreography, burning and others, operate at the center. Teachers actively nominate children to regional and city festivals and competitions. Venues for performances are varied - these include stadiums, children's centers and clubs, and palaces of creativity. The center uses an original rehabilitation method, this is its know-how. Unlike most special institutions, “Varreli” uses playful, entertaining, and activity-based forms. Children (depending on their inclinations and abilities) study in clubs; for those suffering from diseases of the musculoskeletal system, rooms and halls for motor rehabilitation and therapeutic choreography have been specially created (in combination with live music, since if auditory perception is impaired, the center of musical perception does not suffer) . And all this is under the supervision of audiologists, speech therapists, psychologists, neurologists and other specialists. But the main thing in the work of the center is communication between children, speech and role-playing training. The child must be in a speech environment, and the parents study with him. By participating in various fairs, along with absolutely healthy children, pupils forget about their shortcomings, overcome them, to the point that even the audience cannot guess that children are dancing and singing in front of them, who until recently were considered incapable of communicating and moving normally. Another interesting approach to solving this problem is presented in the Rehabilitation Center for children and adolescents with disabilities in the city of Irkutsk. The center has accumulated vast experience in holding various events of a creative, entertaining and educational nature. The center considers one of the mandatory conditions for rehabilitation to be the participation of children in sociocultural events: children's festivals, competitions, tournaments, visits to museums, theaters, and libraries. All this contributes to the development of children’s creative potential and interests, emancipation and manifestation of their own “I”. One of the most significant means of rehabilitation is the rehabilitation of children in the Zoo Gallery, where a living corner has been specially created; through this, a kind of “petting zoo,” children get involved in work and gain new knowledge, learn to care for animals and plants, and have pets. All this contributes to the formation of an active life position, a careful attitude towards nature, and the development of an aesthetic sense. The center’s teachers note that the presence of such a living corner in the rehabilitation center not only brings joy, but also harmonizes the feelings and emotions of children. The state of health and the peculiarities of the perception of the world by people with disabilities pose many challenges for employees of socio-cultural institutions. Especially when it comes to blind people. A blind person is almost completely deprived of the opportunity to get acquainted with the museum's exhibition. For this category of visitors, museum staff create exhibitions that can and should be explored by touch. A number of museums organize special exhibitions that demonstrate to the public the creative abilities of people with disabilities. The State Museum-Humanitarian Center "Overcoming" named after is deservedly considered the leader in this area of ​​museum work. ON THE. Ostrovsky. Exhibitions of disabled artists are also held in the State Darwin Museum, which is rightly called the “animalistic Tretyakov Gallery” for its extensive collection of original works of art dedicated to the evolution of animals and flora on Earth... According to experts from the Darwin Museum, there are two possible options for such exhibits: 1) interactive, intended for all visitors who actively feel, touch it, etc.; 2) open-standing exhibits that can be “looked at” by touch only for visitors with impaired vision. “It’s good if both options are feasible in a museum, this expands the range of exhibits available to the blind. Employees of a number of Moscow museums are already making efforts to “open” the main exhibition to blind visitors (Moscow State Museum “House of Burganov”, Museum of the History of Urban Lighting “Lights of Moscow”, Memorial Museum of Cosmonautics, etc.).” In the Darwin Museum, such exhibits are presented in the form of “soft labels” - pieces of hair from different animals, the tough skin of a bear or the soft undercoat of a hare. Such exhibits appeal to all visitors, both adults and the youngest museum visitors, and not only the blind. The question of creating a specialized museum for the blind has been asked more than once by rehabilitation specialists. For example, a “Tactile Museum” was created in the Italian city of Bologna. Since 1999 The museum introduces the blind to art. Paintings famous artists transferred onto relief copies that museum visitors can touch and thus “see” the painting. Modern technologies allow us to develop this idea and create not small museums with a small exhibition, but a whole network of touching museums. Using 3D printing and crowdfunding, students from Rostov-on-Don are creating tactile exhibits for the visually impaired, allowing them to “see” people and objects in the world around them by touch. The Rostov Special Library for the Blind has already launched exhibitions “Famous Personalities”, “Biology” and “Animals”. Using special plastic and a 3D printer, the project’s authors can create any object, which can then be examined by touch. The project is only a few years old, there are 3 museums with 20 exhibits each, and at the moment there are plans to open such tactile museums throughout Russia. The authors also developed an audio guide and created a website with 3D models so that anyone could repeat the project and create their own exhibition. The number of festivals for people with disabilities is growing every year. These kinds of festivals, holidays, and concerts are another great way to take part in interesting master classes, learn about modern scientific achievements, and communicate with people. One of these events is the annual city holiday-festival “Spread Your Wings!” for families with disabled children in Moscow. The charity festival in 2015 was timed to coincide with the celebration of Family Day and was held in Ostankino Park. The festival program included a sweet fair, a visiting planetarium, family relay races and competitions, a cinema showing children's cartoons, a concert with performances by pop stars, master classes and, of course, gifts. This festival was attended by about 3000 people. Modern technologies of socio-cultural animation make it possible to solve various problems of people with disabilities: to prevent and correct developmental disorders of a child’s personality, giving the opportunity for self-identification and self-realization through involving them in a variety of creative, educational and other types of socio-cultural activities. The socio-cultural environment gives the child the opportunity to open up, express himself, gain new bright emotions, do interesting things, find new friends, and gain new knowledge. By studying in various clubs, sections, visiting a museum or library, disabled children have the opportunity to communicate live, gain support, confidence in their abilities and the ability to enjoy the successes of others. The organization of meaningful leisure contributes not only to the disclosure of the creative potential of disabled people, but also to the restoration of lost abilities for activity and rehabilitation. Thus, the essence of animation is the harmonious development of the individual through inclusion in a variety of leisure programs, the actualization of his creative needs, which are almost impossible to realize without the individual’s interest. Animation activities are an effective means of rehabilitation of disabled people, promoting their integration into the socio-cultural environment.

Content

Introduction…………………………………………………………………………..….2
1. The concept of socio-cultural animation……………………………..….6
2.2. Objectives of socio-cultural animation………………………………….…8
2.3. Animators………………………………………………………………………………….…10
Chapter 3. Animation Directions
3.1. Animation for the unemployed…………………………………………….… .….12
3.2. Animation for the elderly…………………………………………………………… …….15
3.3. Animation in tourism……………………………………………………… …...16
3.4. Sports and recreational direction of animation………………………. 18
3.5. Types of animation programs…………………………………………………………….... 20
3.6. Technology for creating animation programs……………………………..21
Conclusion…………………………………………………………………….23
References……………………………………………………………..…..25

Introduction
According to experts, at present, the inclusion of animated programs of a cultural, educational, sports, tourist, and entertainment nature in the content of tourist routes and trips, and in the work of hotels increases their prestige and demand in the tourism services market.
While having fun, a person or a group of people satisfies their spiritual needs, evaluates their own personality, and analyzes their role on the scale of various subsystems. Entertainment processes are carried out both in natural and artificially created environments.
The entertainment industry aims to create conditions for entertainment, i.e. a set of phenomena on the presence of which the process of entertainment depends.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of needs under existing conditions. The entertainment industry, solving multifaceted problems (primarily education, the formation of an optimistic mood, education, recreation, and the development of human culture), essentially forms and develops personality. By filling part of his free time with entertainment, a person restores himself as a work unit.
In world practice, the sphere of entertainment services for the population includes tourism enterprises, including tourist accommodation facilities. A number of enterprises, organizations, and institutions provide entertainment in the form of their non-core activities. In addition to hotels, these include recreation areas and historical sites.
The entertainment industry acts as an independent, relatively isolated part of the economic system, attracting significant material, financial, and labor resources. In this regard, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
The study of tourists as consumers of the specific effects of the entertainment industry certainly has great importance. Special types of activities are also carried out that purposefully evoke appropriate emotions. Patterns of consumption of entertainment products should be studied in comparison with a person’s previous lifestyle.
The purpose of the work is to study the relationships associated with the process of social-animation services. The object of study is the animation process itself.
The subject of the research is modern technologies and animation methods and techniques that ensure overcoming social and cultural alienation.
To achieve the goals of this work, it is necessary to determine the following tasks:
- the concept of socio-cultural technologies;
- studying the concepts of socio-cultural animation, defining its tasks;
- study of animation directions.
The structure of this work consists of: introduction, three chapters, including ten paragraphs, conclusion and bibliography.

The concept of socio-cultural animation
The concept of "animation". Sociocultural animation (animation) is a special type of sociocultural activity of public groups and individuals, based on modern technologies (social, pedagogical, psychological, cultural, etc.) that ensure overcoming social and cultural alienation.
Socio-cultural animation can be considered as an integral socio-cultural system that has an appropriate institutional subsystem, resource base, specific content and technologies (methods) of animation activities. In this respect, socio-cultural animation is fully consistent with modern Russian socio-cultural activities.
French1 theorist of socio-cultural animation, director of one of the research centers of the National Institute of Public Education (INEP) R. Labourie notes that the phenomenon of animation has a dual meaning, being at the same time a method of adaptation, social therapy and an ideology of liberation through participation.
Characterizing the definitions of socio-cultural animation known to him, R. Labourie noted that most of them have a pedagogical meaning, implying the focus of animation on the growth of self-awareness, active self-development and social creativity. This pedagogical orientation corresponds to the general tasks of social and cultural improvement. He identifies the two most common approaches to interpreting the essence of socio-cultural animation.
The first approach is pedagogical, which allows us to consider socio-cultural animation as a certain level of social education. At the same time, it is emphasized, on the one hand, the increasing role of the animation apparatus, its activity, serving visitors, strengthening the position of professional workers, i.e. the importance of external influence of educational technology. On the other hand, animation is a way of creating and developing a group that forms its own community of values, interests, actions and creates its own social project. That is, animation is a technology of subtle initiating influence at the level of internal resources for self-development of an individual and a group.
The second approach is sociological, associated with the main ideological trends of French sociology. For some, the functions of animation are to unlock social connections and establish warm, trusting relationships. Others see its function in accordance with the traditions of French culture in teaching and mastering the great languages ​​of thought, aesthetics, poetics, economics, etc.
Commenting on these conclusions of R. Labourie, we can point out that the definition of animation combines pedagogical and social aspects. This combination creates a special quality of animation activity, which is both a process of education (of the individual and the group) and a process of social creativity (the creation, development and preservation of a system of productive social connections of the individual and the group).
Such a detailed definition generally fairly reflects the specifics of animation activities, which manifest themselves at the organizational, activity and methodological (technological) levels. At the same time, one cannot limit the essence and specificity of this phenomenon only to external manifestations, because a very important component of socio-cultural animation is its spiritual and worldview potential.
The very concept of “animation” allows, on the one hand, to quite accurately characterize the goals of sociocultural activity, to identify its spiritualizing, consolidating nature, and on the other hand, to designate the actual spiritual (anime – soul) aspect of the relationship between the subjects of the pedagogical process. We are talking about special ways of communication, dialogue filled with genuine sympathy, empathy, assistance, as well as pedagogical technologies based on a deep appeal to the highest spiritual values ​​of truth, goodness, and beauty.
In modern pedagogical science, the use of the concept of animation is associated primarily with the second aspect, i.e. it is used mainly to characterize a system of developing and developing social relations.
R. Labourie concretizes the concept and expands the field of action of sociocultural animation. For him, socio-cultural animation is “an activity carried out by united individuals who independently determine its content and purposeful social, cultural, educational activities outside of working hours. This is mainly the domain of voluntary associations or semi-public institutions. It was here that the concept of “sociocultural animation” was born, the semantics of which expresses the desire to make culture more accessible by connecting it with the phenomena of collective life, expanding the boundaries of cultural life to the problems of everyday life.”
Animation in the generally accepted sense of the word is considered a certain type of activity that pursues the goals of developing and presenting special programs for spending free time. Animation programs include sports games and competitions, dance evenings, carnivals, games, hobbies, activities within the sphere of spiritual interests, etc.
Socio-cultural animation is a special type of socio-cultural activity of public groups and individuals, which is based on modern technologies (socio-pedagogical, psychological, cultural, etc.) that ensure overcoming social and cultural alienation.
Technologies of socio-cultural animation offer, in the form of the main methods of “revitalizing” and “spiritualizing” relations between people, the extensive use of public spiritual and cultural values, traditional types and genres of artistic creativity, thereby providing individuals with certain conditions for inclusion in creative, recreational, educational , entertainment and other types of socio-cultural activities.
In the process of entertainment, a person or a group of people satisfy their specific spiritual needs, evaluate their own personality and also analyze their role on the scale of various subsystems. A variety of entertainment processes can occur in both natural and artificial environments.
The main goals of the entertainment industry are to create certain conditions for entertainment, in other words, a set of phenomena on the presence of which the entire entertainment process will depend.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of people’s needs under existing conditions. By solving multifaceted problems such as upbringing, the formation of an optimistic mood, education, as well as recreation and the development of human culture, the entertainment industry essentially shapes and develops personality. By filling part of his leisure time with entertainment, a person restores himself as a work unit.
The entertainment industry is an independent, relatively isolated part of the economic system, attracting quite significant material, financial and labor resources. In this matter, entertainment industry enterprises are characterized by specific technologies, management systems, results of activities, labor organization, and personnel.
Socio-cultural animation is one of the main links in the general entertainment industry, using specialized techniques and techniques.
Socio-cultural animation is a pedagogy of understanding and mediation, designed to affirm relations of equality that overcome hierarchical subordination, establish relationships on the basis of greater freedom and independence, and provide individual choice in activity, creativity and communication.
Modern technologies of socio-cultural animation involve a comprehensive solution to various problems of the individual, providing her with the opportunity to self-identify as a full representative of a particular socio-cultural, leisure community, as well as conditions for inclusion in educational, creative, recreational and other types of socio-cultural activities.
At the same time, we are talking about overcoming social isolation and psychological alienation not only of people with disabilities, but also of many other categories of the population. In all social and age strata of society there are people brought to the brink of “social dying”, for whom the struggle for full social status takes on the meaning of a struggle for life, and the eternal question of “life or death” becomes decisive for many. All this forces animators - social workers, social educators, specialists in socio-cultural activities - to find effective pedagogical technologies for overcoming the problems of socio-cultural maladjustment.
A special direction of Western socio-cultural pedagogy is aimed at this - socio-cultural animation. It intricately intertwines philosophical and ideological approaches and various applied practices (from psychotechnical to theatrical). At the same time, sociocultural animation uses traditional types and genres of artistic creativity as the main methods of “revitalizing and spiritualizing” relationships between people, this is what allows it to be recognized today as an innovative direction in the development of socio-cultural activities.
Socio-cultural animation is one of the most rapidly developing areas of modern socio-cultural activity, which involves the implementation of programs of creative rehabilitation, active recreation, socio-psychological consolidation of public groups based on cultural values.
In socio-cultural animation, the problems of providing conditions for free development, creative self-expression of the individual and conditions for effective social control in the field of culture are solved.
J. Dumazedieu designated these two target aspects of socio-cultural animation as liberating and regulatory. The desire for free social creativity (the liberating aspect of animation) is a necessary moment of human existence, which has a deep existential basis. “The individual must defend his right to freedom and social inclusion against any illegal, harmful influences.”
The regulatory aspect of animation is important because the individual does not live in society in isolation, he is involved in the activities of social institutions, and in order to regulate the relationships between them, in turn, the function of social control is necessary. Social regulatory control should promote the use of free time for self-development and more active participation of the individual in the social and political life of society.
J. Dumazedieu sees the origins of animation as a social institution in the dialectical unity of the emancipatory and regulatory aspects of animation. Based on this position, he identifies four functional characteristics of socio-cultural animation.
Firstly, historically, the emergence of animation was caused by the need for specific social control of free time, contributing to the maximum expression of the inner “I” of the individual.
Secondly, nowadays free time is increasingly becoming a time for the realization of personal desires, encouraged or rejected by family, school, and work. Social control in the form of animation, while encouraging the free expression of everyone's will, must limit, criticize and direct the cultural consumption market in which individual desires are realized.
Establishing a balance between the leisure demands of an individual or a group and their social inclusion is defined by J. Dumazedieu as the third characteristic of animation.
And finally, the fourth characteristic is social control aimed at the informal education of the individual, his self-education.
Personality in the system of animation activity. Currently, the scientific interpretation of animation activity emphasizes its protective role in relation to the pressure on the individual of standardized and commercialized activities (D. Riesman). Animation creates optimal conditions for the choice of leisure activities to best meet the needs of the individual.
Sociocultural animation recognizes personality as a unique integrity, which is not something given in advance, but an “open possibility” of self-actualization, inherent only to man.
Tasks of sociocultural animation. Socio-cultural animation is, at its core, a pedagogy of understanding and mediation, designed to affirm relations of equality, overcoming hierarchical subordination, establishing personal relationships on the basis of greater freedom and independence, providing individual choice in activity, creativity and communication.
Most modern technologies of socio-cultural animation involve a comprehensive solution to a variety of human problems, giving him the opportunity to self-identify as a full representative of a particular socio-cultural and leisure community, as well as providing conditions for involvement in educational, creative, recreational and other types of socio-cultural activities.
At the same time, the question arises about overcoming social isolation and psychological alienation not only of people with disabilities, but also of some other categories of the population. Today, in many social and age categories of our society, there are people who are on the verge of “social extinction”; for them, the constant struggle for full social status takes on the meaning of a struggle for life, and the rhetorical question “life or death” for many of these people becomes decisive. This situation encourages animators, who can be social workers, social teachers and other specialists in socio-cultural activities, to search for and find more and more effective pedagogical technologies to overcome the problems of socio-cultural maladaptation.
A special direction of Western socio-cultural pedagogy, which is socio-cultural animation, is aimed at solving these problems. In socio-cultural animation, there is an absolutely bizarre interweaving of philosophical and worldview approaches and various applied practices, from psychotechnical to theatrical. With all this, socio-cultural animation widely applies traditional types and genres of artistic creativity in the form of the main methods of “revival and spiritual creation” of relations between people; it is this approach to the problem that today allows socio-cultural animation to be recognized as an innovative direction in order to develop socio-cultural activities.
Socio-cultural animation today is one of the most rapidly developing areas of modern socio-cultural activity, involving the implementation of programs of creative rehabilitation, active recreation, socio-psychological consolidation of public groups based on cultural values.
Animation in the social environment as a way of “revival”, “spiritualization”, interpersonal and intergroup socio-psychological relations, restoration of a person’s life-meaning orientations through socio-cultural activities.

In one of the well-known reports of the Animation Commission, prepared by specialists commissioned by the French Government, three interrelated processes in animation were highlighted:

The process of creating conditions for the disclosure of an individual or group;
The process of establishing interpersonal relationships;
The creative process is a search for problems in the surrounding world and their solution.

An animation action solves a complex of interrelated problems:

A comprehensive assessment of a crisis situation, helping the individual understand the value implications of the situation (what is good and what is bad);
Help in determining and understanding which method of action in a particular situation is suitable to achieve the desired goal;
Bringing the individual to the need to understand the irrational overtones of the situation, i.e. the forces that stand behind openly manifested desire, awareness of one’s own unconscious desires;
Identification and assistance in understanding the real possibilities between which there is a choice;
Help in understanding the consequences that a decision will entail in a particular case;
Bringing the individual to the realization that awareness as such cannot change a crisis situation without the desire to act.

The main areas of animation activity in Western European countries are school animation, theatrical animation, social (municipal) animation, art therapy, communicative rehabilitation.

Animation as a type of professional activity. Animator is a specialist who carries out animation work. French sociocultural animators are mostly volunteers, enthusiasts, working on a voluntary basis in their free time. These are teachers, scientists, public figures, engineers, office workers, workers, and peasants. There is a constant process of forming activists of the sociocultural movement from among visitors to institutions of the sociocultural sphere.
Along with voluntary activists, there are also professional animators. Their training is carried out by numerous training centers, in which about two and a half thousand people study. Professional animators receive training in the field of administrative and management activities, research and creative work, and pedagogy. There are two types of animators:
1. managers (animators-coordinators);
2. specialist animators who head various circles (crafts, technical and artistic activities, etc.), teach at various courses (training motorists, tourists, popularization of science and technology, acting and directing courses, etc.), carry out legal advice, contribute to the social adaptation of emigrants, conduct socio-cultural work at the place of residence and even provide psychological assistance.
Cantonal (i.e. district) animators are charged with meeting the needs of the population in the field of culture, sports, and entertainment. The cantonal animator reports to the director of the Office of Youth and Sports of this department, he supervises the activities of local groups of art lovers and sports associations, organizes training for voluntary animators and leaders of amateur associations, and establishes cooperation between animators and associations within the canton. Such an animator is hired under a contract and must pass a competitive examination in accordance with the approved charter; he enjoys freedom in choosing the forms and methods of teaching work.

Theoretical sources of socio-cultural animation. In its desire to develop as an original cultural practice, sociocultural animation until the 1960s. tended to reject scientific research and analysis that could help clarify its problems, its structures, and its specific practices. Since the early 1970s. Research began to be carried out concerning the pedagogy of animation, animators, their psychology, education, goal setting, the audience of animation, the activities carried out within its framework, and institutions. It was during this period that the most productive research was undertaken, which made it possible to clarify the sociocultural space of animation.
Animation in the original sense is a “universal social phenomenon”, which requires for its analysis the use of such various complementary disciplines as philosophy, history, sociology, psychology, pedagogy, etc.
The target orientation of sociocultural animation is to actively prevent the “dying” and “alienation” of the individual in the culture of society, in the complex structure of social relations. Naturally, the special address of animation activities is “acute”, critical states of the individual, alienated by society for any reason (national segregation, loss of professional status, limited physical capabilities, deviant behavior, etc.)
Indeed, sociocultural animation was formed as a direction of pedagogical work in society under the influence of a significant number of philosophical, psychological, medical and pedagogical views on the nature and essence of man, the mechanisms of personality development in normal and pathological conditions, and on the ways and means of correcting anomalies in personality development. The most important theoretical sources of sociocultural animation are: humanistic psychology (K. Rogers, A. Maslow, A. May, etc.), as well as social psychiatry and transactional analysis, which are close to it in humanistic orientation (E. Bern, E. Fromm, E. Erickson and others), logotherapy (V. Frankl), art therapy, etc.
In philosophical and ideological terms, animation activities are consonant with the leading global concepts of humanistic pedagogy associated with the implementation of the tasks of free education and creative development. The basis of humanistic pedagogy, as well as humanistic psychology, is such philosophical concepts as, for example, existentialism, neo-Freudianism, anthroposophy. At the same time, we are talking about the use in the theory and practice of socio-cultural pedagogy of the heritage of A. Neil (England), O. Decroly (Belgium), E. Parkhurst (USA), R. Steiner (Germany), S. Fraene (France).
From the standpoint of socio-pedagogical analysis, sociocultural animation can be defined as a branch of social pedagogy, based on methods of organizing cultural and leisure activities of the population.
Principles of sociocultural animation. Among the basic principles on which animation work is built are the following:

Man must be studied and accepted in his entirety;
Each person is unique, so the analysis of individual cases is no less justified than statistical generalizations;
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