Socio-cultural animation in the education of children. Creative animation Social cultural animation

The term "animation" has a theological origin, it entered the French language in the 14th century. In the academic publication "Treasures French. Dictionary of the Language of the 19th - 20th Centuries" "animation" is defined as "an action aimed at giving life, breathing life."

Of course, these meanings of "animation" as "transfer of vital energy", "revitalization" are largely lost, but their essence is preserved - the task of animation remains the awakening of the potential possibilities of the individual, his "inspiration".

The emergence of socio-cultural animation is due to the introduction of a law on the creation of various non-political organizations in France in 1901. In connection with the reduction of working hours, more free time began to appear for working citizens, amateur associations became popular.

Sociocultural animation in France was formed in the field of public education, which later transformed into a system of additional education for children and adults. . In the 70s of the 20th century, the Government of France, after conducting numerous sociological studies that concerned the extracurricular time of children and adolescents, decided to create a priority program for educating the nation.

Jacques Friedman, who developed this program, spoke about creating a harmony of the unity of the child and the environment for his development. As a result of the work of this program, by the end of the 20th century, socio-cultural animation became an independent phenomenon in the field of leisure. Until the 60s of the twentieth century, socio-cultural animation had no scientific understanding. R. Labourie and P. Bernard write about the complexity of delimiting the space of animation, highlight many directions animation activities. French sociologists who studied animation activity saw in it the fundamental role of culture, the desire to attach the maximum number of citizens to its values. Animation is "universal social phenomenon”, they write, it cannot simply be attributed to one of the many professional fields.

A study conducted by E.B. Mambekov, shows that socio-cultural animation in France is based not on a rigid centralized system of managing socio-cultural activities and not on activities social institutions, but informal public associations of people that are not amenable to any ordering and structuring. Public associations have the opportunity to take into account the interests of each individual, give each person the opportunity to realize themselves in personally significant activities. It is in them that initiatives are born, which are further formalized into voluntary associations, acquiring a structure and legal status. Local communities, municipal institutions unite and support voluntary associations. Over time, they can acquire the status of major social movements of national importance. And only in the last turn in this process are involved government bodies which finance non-profit institutions, coordinate their work, and contribute to the development of the socio-cultural sphere of society as a whole.

Now, as French sociologists note, animation is included in the leisure culture of France, being a special and completely independent element of socio-cultural activity.

In Russian history, there are many examples of socio-cultural animation as a technology of education, although this activity did not have such a name. in Russia in the nineteenth century. a system began to develop that can be considered a kind of socio-cultural animation activity - this is out-of-school education for children and adults. It was based on a private initiative, which was one of the most significant sources of organization and semantic content of socio-cultural activities in the late nineteenth and early twentieth centuries.

In the process of development of animation activities and social and pedagogical movement, according to R.V. Sokolov, two tendencies that contradict each other are visible: the first is an informal, “revitalizing” relationship; the second - formalizing, "killing" the spontaneous creative nature of social movements. The totalitarian power fought and almost destroyed all forms of new social movements. Thus, animation activity in Russia of the 20th century was not supported by a rigid totalitarian government. V.A. Charnolusky writes about the great importance of free associations of people.

Thus, socio-cultural animation has deep traditions in Russia, despite the fact that the term "socio-cultural animation" was first introduced in Russian by E.B. Mambekov only in the early 90s of the twentieth century.

Interest in animation in Russia was associated with the search for new approaches to the organization of cultural and educational work, which turned out to be ideologically outdated with the collapse of the USSR.

Among Russian scientists, socio-cultural animation is studied from different positions and receives different interpretation. Firstly, it is associated with cultural and leisure activities. M.A. Ariarsky believes that socio-cultural animation is one of the applied areas of cultural studies. In the concept of N.N. Yaroshenko, socio-cultural animation is named one of the young branches of applied social psychology and pedagogy, and is designated as "pedagogy of social and cultural activities."

At present, animation activity is becoming more and more widespread in Russia. Animation activities are used in the following areas: in the activities of cultural institutions; institutions of additional education; funds mass media; rehabilitation centers; tourism, etc.

Today socio-cultural animation is one of the young branches of science. In modern Russian society socio-cultural animation is becoming relevant and, according to many sociologists, there are a number of reasons for this, such as:

• - change in the worldview of modern Russian society;
• - the need to form a civil society;
• - change in the economic status of socio-cultural activities;
• - change of ideological views in the organization of pedagogical activity.

What is socio-cultural animation today? There are quite a few different definitions of the concept of socio-cultural animation, one of them is given by N.N. Yaroshenko. Animation (animation - anim: soul - animation, revival) - a special type of socio-cultural activity of social groups and individuals, based on modern technologies (social, pedagogical, psychological, cultural, etc.), providing overcoming the social and cultural alienation.

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

E.B. Mambekov defines socio-cultural animation as part of the cultural and educational system of society, which can be represented as a special model for organizing socio-cultural activities:

• - as a set of elements (institutions, government bodies, organizations, voluntary associations, animators, audience) that are in constant relationship;
• - as a set of occupations, activities and relationships that meet the interests shown by a person in his cultural life and especially in his free time;
• - as a kind of socio-pedagogical system, in which the leading role is played by animators, professional or voluntary, with special training and using, as a rule, methods of active pedagogy.

In modern psychological and pedagogical science, the use of the concept of "animation" is associated for the most part with the second aspect, that is, it is used mainly to characterize relationships.

The French researcher Anne-Marie Gourdon wrote that when the word animation is mentioned, it is not about the revival of the body and inanimate matter, but about the revival of relations between individuals and social groups.

R. Laburi expands the concept of socio-cultural animation into social, he sees it as: "The activity carried out by uniting individuals who independently determine the content and purposeful social, cultural and educational activities outside of working hours."

The very concept of "animation" allows, on the one hand, to accurately characterize the goals of sociocultural activity, to identify its consolidating (unifying) nature, and on the other hand, to designate the internal aspect of the relationship between the subjects of the pedagogical process (special ways of communication, dialogue filled with participation, sympathy, co-action).

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 activity. In this, socio-cultural animation is quite consistent with socio-cultural activities.

But the main difference between socio-cultural animation and socio-cultural activity, as Tarasov L.V. writes, is that in socio-cultural activity, society forms a personality, and in socio-cultural animation, a personality forms social processes.

Modern leisure, according to J.R. Dumazedier, is not an "application" to work, as before - a rest from it and preparation for it. The autonomization of leisure, the change in life orientations towards leisure is evidence of fundamental changes in the way of life of society, especially young people.

According to V.G. Bocharova, animation can be considered as professional activity associated with the organization of the creative search for activities in the field of free time; with ensuring the process of development of an organized group and its members at the level of social relations and cultural formation. Under public relations is meant the establishment of interpersonal contacts between individuals and public relations between various social institutions. Cultural formation is understood as familiarization with new cultural values, while the concept of "culture" receives the broadest sound. In the light of this perspective, the social and cultural functions of the animator converge, and he effectively implements the process of socialization of the individual.

Socio-cultural animation uses traditional types and their genres of artistic creativity as the main methods of “revitalizing and spiritualizing” relations between people, this is what allows us to recognize it today as an alternative direction for the development of cultural and leisure activities.

The fundamental novelty of animation activity, according to N.N. Yaroshenko, can be characterized by new goals, objectives and applied technologies that determine the process of optimizing interpersonal and intergroup relations.

R. Laburi identifies two most common approaches to the interpretation of 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. This emphasizes, on the one hand, the growing role of the animation apparatus, its activity, customer service, strengthening the position professional workers, that is, the importance of the 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 of self-development of an individual and a group.

The second approach is sociological, connected with the main ideological currents of French sociology. For some, the function of animation is to unlock social bonds, 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.

The specific task of socio-cultural activity is to create psychological and pedagogical conditions that contribute to overcoming psychological obstacles to social interaction.

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

• - a person must be studied and accepted in his integrity;
• - 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 formation and being of a person;
• - a person is endowed with potentialities for development and self-realization, which are part of his nature;
• - a person has a certain degree of freedom from external determination due to the meanings and values ​​that guide him in his choice;
• - a person is an active, intentional, striving for self-actualization, creative entity.

Among the areas of animation N.N. Yaroshenko highlights:

• - animation work to change the negative attitude of society towards the alienated person;
• - activities to restore the system of interpersonal relations of the individual (socio-psychological rehabilitation);
• - the formation of adequate self-understanding, self-awareness and self-expression (therapy of the meaning of life - logotherapy).

Socio-cultural animation as an activity, being a system, has a certain structural construction of the elements of its activity. The functional basis of socio-cultural animation is part of this system.

In the studies of V.A. Quarterly, L.V. Kurilko, E.M., Priezzhaeva, B. Stoikovich, animation activity is defined as a qualitative characteristic of the way of human activity, which turns it into a means of revealing and realizing the essential forces of a person. According to I.I. Shulgi, animation activity is aimed at actively promoting the harmonious development of a person’s personality, at forming motivation for different ways amateur performances, including the search for new forms of free creative pastime.

E.B. Mambekov in his study presents the structure of functions proposed by the French researchers P. Bernard and R. Labourie:

• - function of adaptation and inclusion;
• - recreational function
• - educational function;
• - corrective function;
• - critical function;
• - cultural function.

I.I. Shulga highlights the functions of pedagogical animation:

• - relaxation - restoration of expended energy, psychosamotic relaxation, rest, emotional discharge;
• - cultural-cognitive - the acquisition of previously unknown knowledge;
• - educational function - ethical and aesthetic impact, familiarization with humanistic ideals and values;
• - creative - creative development.

N.N. Yaroshenko designates two functional aspects of social and cultural animation. The liberating aspect has a deep existential nature, which is based on the desire for free social creativity. The regulatory aspect of socio-cultural animation involves the establishment of relationships between the individual and the activities of social institutions, where there is a need for a function of social control that promotes the use of free time for self-development and more active participation of the individual in the social and political life of society.

N.V. Trubacheva gives the following structure of resort animation functions:

• - adaptive - allows you to move from everyday environment to free, leisure;
• - compensatory - allows you to free a person from the physical and mental fatigue of everyday life, and stabilizing - to create positive emotions and stimulating mental stability;
• - the health-improving function of animation, aimed at restoring and developing the physical strength of a person weakened in everyday working life.

EAT. Priezzhaeva considers the socio-pedagogical functions of animation activities in tourism, which are interpreted as:

• - production, accumulation and storage of new knowledge, norms, values, orientations and meanings;
• - reproduction of the spiritual process through the promotion of its continuity;
• - communicative support of sign interaction between the subjects of activity, their differentiation and unity;
• - creation of a socialized structure of relations mediated by cultural components, which is at the same time the content of animation activity.

Interaction in the field of animation activities is voluntary and selective. Such interaction is largely differentiated, individualized and variable, its educational effectiveness is determined by which individuals participate in it, to what extent they feel they are individuals and see a personality in everyone with whom they communicate.

The conclusion is to give a definition of socio-cultural animation, what is technology, what is socio-cultural animation as a technology of social work, what algorithm does this technology have.

Cultural animation.

Cultural animation is not just a satisfaction of the need for familiarization with the cultural values ​​of a particular people, country, region or type of leisure, it is a way of self-development and self-realization, cultural integration, education, coupled with a recreational effect from the knowledge of the exotic presented both in strictly historical and cultural forms, as well as in animated live life-affirming form.

Creative animation.

Creative animation is a very specific type of animation, which is the most developed form of cultural and leisure activities, since it is aimed at self-realization and self-development of a person as a creative person.

Creative animation is based on the revitalization of a person's creative abilities by including him in various forms of activity that are closest or most interesting to him on the basis of the person's hobbies and interests. That is, through animation, a person realizes at his leisure his aspirations, the embodiment of his own life position. This direction of animation is designed to help a person gain new knowledge.

Thus, animation programs, solving multifaceted problems, primarily education, the formation of an optimistic mood, education, recreation, in essence, form and develop a personality. The social orientation of animation programs is expressed in the fact that it serves to form new personal and social needs.

The structure of animation activity includes: recreation, relaxation, adaptation, communication, correction, reconstruction, regeneration. Animation methods can be defined as special ways of implementing adequate, expedient and unobtrusive socio-psychological assistance to a person in the process of socialization and life. The following groups of methods are distinguished in social animation: social protection; socio-pedagogical correction; creative rehabilitation; identification and support of dynamic tendencies of creative self-determination, etc.

Having defined animation as an independent area of ​​cultural and leisure activities, as well as considering the animation process from the point of view of a systematic approach, as a process of meeting the specific needs of a person in communication, movement, culture, creativity, entertainment and pleasant pastime, it was revealed that the following forms of organization of animation activities are distinguished : active animation, sensual animation (event, theatrical, fairy tale therapy, sports), communication animation, tranquility animation (music, fairy tale, play, dance, art, environmental therapy), cultural and creative social animation.

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higher professional education

Faculty of Psychology

Department of Pedagogy

Direction "Psychological and pedagogical education"

Socio-cultural animation in children's education

Course work

Introduction

Conclusion

List of references

Introduction

The relevance of research:

In modern society, the formation of a comprehensively harmoniously developed personality is one of the main tasks of the educational process. This is not only an objective need - it is the main goal, the ideal of real education. The key problem in the process of personality development is spiritual and mental education. It is only thanks to reason that a person stands out from the diversity of the animal world as a social, social being. He created all the riches of spiritual and material culture, ensured constant socio-economic progress, thanks to which one can improve oneself by receiving additional forms of education. The development of the inquisitiveness of the mind, the mastery of basic knowledge, the improvement of the memory, thinking, ingenuity of the individual in the modern era acts as the core of a comprehensive development, as the main way of social integration.

Scientific and technological progress, politics, economics, ideology become a source of social development only under the condition of manifestation and realization of all the abilities of the individual. The desire of a person to fully realize the abilities and creative potential inherent in him is the most urgent need that determines the whole meaning of life, its significance and status in society.

Today we are witnessing the process of accelerating the rhythm of life, with a constant increase in the level of knowledge and a corresponding increase in the requirements for members of society. Increasing loads are caused by general social tension, adversely affect the physical, intellectual and psychological state of a person. Socio-cultural animation is designed to help people in modern society. Her techniques help not only to restore spiritual and physical strength, but also qualitatively affect relationships, help to establish interpersonal relationships.

The term animation originates from the Latin "anime", which means "soul", "animo" - "revive, animate". A person engaged in animation is defined as an inspirer, life giver, character builder, leisure organizer. In his monograph, Professor, Candidate of Pedagogical and Physical and Mathematical Sciences L.V. Tarasov wrote: “Sociocultural animation is a complex and contradictory phenomenon that tends to go beyond its own limits, characterized by many criteria, a variety of forms. Animation activity is actualized by social problems and is aimed at their resolution. It is an effective mechanism for improving the quality of life of ordinary citizens based on the principles of self-organization. This is one of the promising types of socio-cultural work with the population. Socio-cultural animation is an innovative pedagogical system, the purpose of which is the actualization of the spiritual needs of society. In the educational process, the animator helps the audience turn to spiritual values, learn how to apply them in everyday life.

In our country, animation activity is becoming more and more widespread, functioning in several directions at once: in the activities of cultural and tourism institutions, the media, rehabilitation centers, institutions of additional education for children, etc. By means of animation activity, a person acquires the widest possibilities of spiritual healing, education in oneself such personal qualities as showing one's individual self, improving cultural education, learning to interact more fruitfully with society, which contributes to the formation of a self-organizing system of social and state relations.

The manifestation of social activity and initiative in all spheres of life significantly increases the possibility of self-affirmation and self-expression of the individual.

Today, as a scientific direction, socio-cultural animation has not been fully studied, the system of its application as a means of self-development of the personality at the earliest stage of formation - childhood did not have sufficient pedagogical and practical development in modern Russian science. Insufficient elaboration in this direction led to the choice of the topic of this study.

The object of the study is the education of children.

The subject of the research is socio-cultural animation in the education of children.

The purpose of the study is a theoretical substantiation of the role of socio-cultural animation in the education of children.

The implementation of this goal has outlined the following tasks:

1. Analyze and determine the degree of study of the problem of socio-cultural animation in the socio-pedagogical, historical, philosophical literature of Russia and abroad;

2. Determine the methodological and theoretical approaches of socio-cultural animation in the education of children;

3. To study the psychological and pedagogical foundations of socio-cultural animation in the education of children;

4. To identify the most effective methods of conducting animation activities with children;

The structure of the course work:

This work consists of an introduction, a theoretical approach to the topic under study, a study of its content and structure, a conclusion, a list of references.

The chosen topic is interesting and relevant, since a special place in the education of children at the present stage of development is occupied by sociocultural animation, which ensures the harmonious and healthy development of the individual, is a "psycho-stabilizer" in the educational, pedagogical process.

The theoretical basis of this study are the following concepts: animation in the socio-cultural activities of E. Mambekova; socio-cultural animation in socio-cultural pedagogy N. Yaroshenko; T. Kiseleva and Yu. Krasilnikova; the sociology of leisure by J. Dumazedier in social and cultural activities; sociocultural management by V. Chizhikov; existential pedagogy O. Bolnova; out-of-school education of S. Gessen and others.

Studies of French theorists of the twentieth century on socio-cultural animation: M. Kayres, P. Benard, R. Laburi, P. Langar, A.M. Gourdon, J. Levegliat, M. Levy-Cotret, P. Moulineux, A. Teri, M. Smono, M. Pariset and others.

The psychological foundations of the formation of personality consecrated in the works of: R. Asagioli, K. Jung, D. Campbell, L. Banswanger, W. James, A. Maslow, D. Bugental, V. Frankl. K. Naranjo, K. Rogers. In writings domestic psychologists: N. Grot, L. Vygotsky, V. Vedensky, V. Zenkovsky, A. Ukhtomsky, V. Zinchenko, D. Leontiev and others.

The works of French thinkers of the twentieth century regarding the philosophical development and formation of personality: A. Comus, A. Bergson, J. Lacroix, E. Levinas, G. Marcel, M. Merleau-Ponty, J. Maritain, E. Munier, P. Ricoeur, J. Sartre, M. Buber, N. Berdyaev, M. Heidegger and others.

Russian religious philosophy of the 9th-20th centuries: S. Askoldova, S. Bulgokov, V. Solovyov, S. Frank, I. Ilyin, N. Lossky, E. Florensky.

Fundamental works of outstanding domestic teachers: K. Ushinsky, L. Tolstoy, S. Gessen, V. Vakhterov, A. Makarenko,

Experience in the formation of cultural and leisure animation in Russia at the end of the 20th century: N. Yaroshenko, M. Ariarsky, T. Kiseleva, A. Zharkov, Yu. Krasilnikov, V. Chizhikov, Yu. Streltsov, V. Triodin, V. Tuev

1. Theoretical approaches to the use of socio-cultural animation in the education of children

The birth of socio-cultural animation as an independent phenomenon in science took place just over a century ago in France in 1901, with the entry into force of the law on the creation of various non-political associations in view of increasing the amount of free time among the population by reducing working hours. Gradually, amateur associations began to develop, aimed at leisure pastime of citizens. A new scientific understanding and pedagogical modeling, with a purposeful process of personality formation, took place in 1970. Public associations began to take into account the interests of each individual individually, to enable a person to realize himself in a personally significant activity.

The founder of sociocultural animation is Jean Friedman, who came up with the idea of ​​forming a harmonious unity of the child and the environment in which he develops. Based on this idea, the French government created a program, the main idea of ​​which was the formation of the country as an educational nation. Large-scale sociological studies have been launched to study the ways in which children and adolescents spend outside school time, the influence of the content of this time on the general social background and society as a whole. The primary task was the formation of a general social, pedagogical apparatus capable of reviving environment child, spiritually enrich his social life. Animation, which includes socio-cultural activities, has become the main tool for a positive influence on the development and formation of a young individual as a personality. By the end of the 20th century, animation emerged as an independent area of ​​psychological and pedagogical activity in the field of leisure. Today, according to French sociologists, animation is included in the leisure culture of France, as a special and independent element of social and cultural activities.

Our country also has a certain experience in conducting activities aimed at fruitfully filling the leisure time of children, adolescents and youth. In domestic pedagogy, at the end of the 9th century, cultural houses began to form, with circles of interest. In the era of the USSR, a fairly rich long-term experience in building socio-cultural activities was accumulated. The activities of the pioneer and Komsomol organizations were extremely active throughout the country, which covered not only extracurricular work in an educational institution, but also summer leisure time.

However, with the collapse Soviet Union there was a collapse of all leisure activities with children, and as a result, the demoralization of society as a whole. The country's social sphere found itself in a helpless state as a result of a colossal political and socio-economic crisis.

For the first time the term socio-cultural animation appeared in Russia relatively recently in 1990. It was introduced by the candidate of pedagogical sciences E.B. Mambekov is a researcher in the field of foreign models of socio-cultural activity, education and spiritual production.

In the 21st century, we are witnessing a revival of Russian spirituality, resulting in a growing interest in animation. It is associated with the search for new forms, approaches to the organization of cultural and educational activities in society. Trends in innovative social action in the field of leisure are becoming more relevant, especially in working with children. There are a number of reasons for this:

Change and significant adjustment of the worldview in the organization pedagogical work with society;

Inversion of the economic status of the country and its socio-cultural activities, the search for economic attractiveness (entrepreneurial niche) in the field of leisure time;

Re-profiling of socio-cultural activities for the real spectrum of the needs of the population, taking into account world experience in this direction, national and geographical characteristics of the regions, as well as the positive experience of working with Soviet children and youth.

Today, to a greater extent, the concept of social revitalization of a person is found in the pedagogical sphere, and this situation is fully justified, because the basis for the formation of relationships between spiritual and material values ​​occurs at the level of the formation of a child as a person. This is the most favorable time when the child is open for spiritual transformation, development and improvement of himself from within. The content of the activity implies the psychological and pedagogical nature of a person and is aimed at mastering the ability to manage one's spiritual needs, enrich them, form positive emotional states, be able to transform mental disorders, opposing one's creative and spiritual potential to stress.

M. Simono defines the scope of the direction under study as follows: “Socio-cultural animation is an area of ​​social life, the participants of which set themselves the goal of certain changes in the behavior of interpersonal and collective relations through direct impact on individuals. These influences are carried out mainly through a variety of activities with the help of pedagogy, non-directive or active methods.

E. Mambekov defines socio-cultural animation as part of the cultural and educational system of society, which is presented as a special model for organizing socio-cultural activities:

As a set of elements (institutions, government bodies, organizations, voluntary associations, animators, audience) that are in constant relationship;

As a set of occupations, activities and relationships that meet the interests shown by the individual in her cultural life and especially in her free time;

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

This definition reveals the structure and specifics of animation activity: at the organizational, methodological, technological and worldview levels.

Socio-cultural animation is an integral system that has a subsystem in its structure, a certain resource base based on the techniques and technologies of animation activity. In this it is similar to the usual direction for us - socio-cultural activities. But the difference between these two related concepts is quite significant. According to L.V. Tarasov, it consists in the fact that in social and cultural activity, society forms a personality, and in sociocultural animation, a personality forms social processes. [ 9]

The change in life orientations towards leisure indicates fundamental changes in the way of life of an individual and society as a whole (especially young people). Leisure modern man is not an attachment to work, it is a rest from it, accompanied by moral relaxation and a subsequent charge positive energy for new working days. The famous sociologist J. Dumazedier defined animation as “the slogan of the three Ds”: delassiment (relaxation), divertissement (entertainment), developpement (development). In his writings, he wrote that animators, as social leaders, are "conduits of opinion" who choose and transform values, manners and concepts, provide members of their group with models of behavior. They take an active innovative position in relation to social norms and contribute to the development of these norms.

Doctor of Pedagogical Sciences V.G. Bocharova writes that animation can be considered as a professional activity associated with the organization of a creative search for activities in the field of free time; with ensuring the process of development of the group and its members at the level of social relations and cultural formation.

Public relations mean the establishment of interpersonal contacts between individuals and public relations between various social spheres and institutions. Cultural formation is understood as familiarization with new cultural values, while the concept of "culture" receives the broadest sound. In the light of this perspective, the social and cultural functions of the animator converge, and he effectively implements the process of socialization of the individual.

For more fruitful work within the framework of leisure in socio-cultural animation, traditional genres and types of artistic creativity are used as the main methods of influencing a person, through which spiritualization of relations between people takes place, making them more alive and bright. It is this fact that allows us to assert that today animation is the most productive alternative direction of development in cultural and leisure activities.

At the moment, sociologists identify the three most common approaches that interpret the main essence of socio-cultural animation:

The first one represents the sphere of leisure as a natural factor and condition for the socialization of the individual, during which both positive and negative influences are possible. But this approach does not distinguish age feature human (childhood, youth), as milestone social and moral formation of the personality, when there is a special need for sociocultural mentors who are able to competently and professionally take into account all individual specifics, reflect it in all forms of pedagogically optimal leisure - an important educational impact.

The second one is focused on the psychological nature of leisure associated with the satisfaction of human needs in the framework of free time. Here, the processes and results of the deformed influence of free time on children and adolescents are studied (taking into account the types of leisure that are psychologically and emotionally attractive to the emerging personality).

The third is the most relevant for pedagogy. It reveals the developing trend in the sphere of leisure, the main semantic, personally and socially valuable aspects.

It becomes clear that the study of socio-cultural animation requires the use of various complementary disciplines - pedagogy, psychology, sociology, philosophy, history, local history, etc. This is the socio-cultural activity of individuals and social groups, based on pedagogical, psychological, social and cultural technologies that contribute to social and cultural convergence. The main target orientation of animation lies in active interpersonal and intergroup socio-psychological relations, in restoring and consolidating the semantic orientation of the individual through socio-cultural activities, mastering the languages ​​of thinking, aesthetics and philosophy of life.

I. Shulga, who studies the influence of educational processes on a person from a pedagogical, psychological and sociocultural point of view, wrote: “As a social phenomenon, pedagogical animation is part of the cultural and educational system of society, which is enshrined in the form of a special model for organizing various types of socially approved leisure of different age, social and national groups. As a socio-pedagogical system, it is a set of state, public, private and other social institutions designed to ensure a sufficient level of socially approved and socially useful types of leisure activities and relations that meets the interests of citizens and is enshrined in regulatory legal acts.

Socio-cultural animation activity has a number of specific tasks, the essence of which is to create comfortable psychological and pedagogical conditions that help overcome psychological barriers on the way to social interaction.

N. Yaroshenko clearly understood the importance of this direction for the formation of a mature, modern member of society: “Socio-cultural animation is a special type of socio-cultural activity of social groups and individuals, based on modern technologies (socially pedagogical, psychological, cultural, etc.), ensuring the overcoming of social and cultural alienation”

Among the main principles of animation work, he identifies the following:

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

Man must be taken for study and education in his immediate wholeness;

A person is open to the world, his experience of the world and himself in the world is one of the main psychological realities;

Man is endowed with the desire for self-realization and development, and this is an integral part of his nature;

The life of a little man should be considered as the result of a single process of becoming and being;

Man is an active creative entity striving for self-actualization; - a person has a degree of freedom from external determination due to the meanings and values ​​on which he relies in his choice.

The leading directions in animation are usually distinguished:

Animation work to change the unfavorable attitude of society towards an alienated person;

Conducting activities to restore harmonious interpersonal relationships (social and psychological rehabilitation);

Formation of a healthy sense of self, self-understanding and self-expression (logotherapy).

French researchers P. Bernard and R. Labourie developed the structure of the main animation functions:

Fixtures and inclusions;

Recreational;

Educational;

corrective;

critical;

Cultural.

Our compatriot I. Shulga supplemented the list of pedagogical functions

animations:

Relaxation (restoration of spent energy, rest, psychosomatic relaxation, emotional discharge);

Cultural and cognitive (acquisition of previously unknown knowledge);

Educational (ethical and aesthetic familiarization with humanistic values ​​and ideals);

Creative (implying creative development).

The task of pedagogical animation, first of all, is to organize assistance to students in overcoming educational difficulties, in organizing school holidays.

The most common areas of work for an animator teacher are:

Development and implementation of socio-pedagogical programs of work with

students;

Organization of leisure activities with school students;

Socio-pedagogical assistance to the teacher in organizing and conducting out-of-school work;

Involving parents outside academic work with kids;

Methodical work with teachers on the organization of extracurricular activities;

Individual socio-pedagogical work with schoolchildren and their parents in their free time;

Interaction with various youth organizations, cultural, sports and recreational, tourist institutions on the organization of social and pedagogical work with children;

Interaction with centers social service, departments for work with minors in order to ensure corrective, educational, individual work with individual children;

The activity of teachers-animators in the educational process is by no means secondary. Their implementation of the tasks of diagnosing, recording and developing the individual abilities of the child, creating optimally favorable conditions for this within the family, educational institution, in the field of leisure, in the environment of communication - an important part of the work to prevent serious deviations in the behavior of the child. The presence of motivation plays a leading role and has great importance for the whole system pedagogical means and socio-cultural technologies.

Extra-curricular activities play an important role in the socialization of schoolchildren. Conversations, lectures, themed school evenings, discos have a positive effect on the socialization and individualization of students, but subject to one important condition - sociocultural animation is exclusively voluntary. The spirit of freedom, friendliness creates an atmosphere of positive mood, which greatly facilitates the path to achieving the task. Sometimes one smile is enough to free a person from the shackles of life principles and spiritually transform the surrounding reality.

social cultural educational animation

Socio-cultural animation has a certain structure and a fairly specific content. Its basis is not an entertaining game program (as it might seem at first glance), but a clearly planned psychotherapeutic, cognitive structure of knowledge, dressed for ease of assimilation in an attractive form of celebration, entertainment. Through such a "coded" program, the child receives psychological and psychotherapeutic support, learns to find a way out of difficult life situations. In the course of interpersonal and intergroup relations, the child goes through deep psychological levels of interaction between individuals, among which there are three main components of these relations:

Behavioral (deeds, actions, facial expressions, gestures, speech);

Emotional (positive and negative emotional assessments, intrapersonal conflict, hypersensitivity, self-satisfaction, others ...)

Cognitive (psychological processes associated with the knowledge of other people, oneself by means of sensations, perception, memory, thinking, imagination)

The structure of animation activity includes a number of important and interrelated components: regeneration, recreation, relaxation, adaptation, correction, communication, reconstruction. To create an animation program, it is not enough to be well versed in the system of genre construction - the organizer needs to carry out serious preliminary work, have a clear idea of ​​what the purpose of the event is, what is the audience ... namely, to get answers to the questions:

1. What is the basis of the event (main idea, goal of achievement);

2. Who are the main participants (age, gender);

3. Social status, professional employment;

4. Psycho-emotional state of the participants;

5. Nationality (features of cultural traditions);

6. State of health (it is especially important to take this into account when developing sports and recreational activities associated with physical activity);

7. Value-semantic relations;

8. Place and time (open, closed area);

It is also necessary to know and understand the possibilities of each expressive means, using the techniques of illustration, theatricalization, interactive, artistic installation ...

The technology of creating animation programs, like any other system, consists of several interconnected subsystems:

Organizational (strategy and development of joint activities of the animation team);

Instructor-methodical (creation and development of an event scenario, selection of material, games, competitions, drawing up an algorithm of actions with the development of methodological recommendations);

Director's cut (distribution official duties, roles, drawing up a rehearsal plan);

Technical (preparation of the site, props, scenery, technical means - musical accompaniment, sound, lighting).

From the point of view of a systematic approach to animation activity, as a process of meeting the specific needs of a person in communication, the following forms of organization of animation activity are distinguished:

1. Active animation - is aimed at meeting the needs of a person not only in movement, but also the formation of a positive physical and mental effect when involved in movement;

2. Sensual animation - the creation of an emotional and psychological background, through the experiences of which a person can satisfy the need for knowledge of the new, amazing, previously unknown;

3. Animation of communication - is aimed not only at meeting the need for communication, but also psychological relief, self-actualization of a person through communication;

4. Animation of tranquility - satisfaction of the need for rest, recreation, which is passive in nature;

5. Cultural animation - not only meeting the need for a cultural and aesthetic aspect, but familiarizing with the values ​​of a particular people, country, a way of cultural integration;

6. Creative animation - a specific type of animation, which is a form of cultural and leisure activities based on the revitalization of creative abilities by including in various forms of activity the most interesting for a person based on his hobbies and interests.

A clear understanding of the whole essence of the animation program and a balanced approach guarantee the event a lively response from the participants, their direct interest, and hence the educational process embedded in the program will be successfully mastered.

That is why the high competence of a specialist is important, which consists in the personal characteristics of the teacher, based on the ability to informally influence pupils in the process of leisure interaction, the creation of a socially organized leisure and educational space in the social pedagogical system. Knowledge of psychology, pedagogy, sociology, cultural studies, as well as law, political science, economics, management theory and a number of other socially significant sciences acts as a means of implementing the leading sociocultural activity - introducing a person to the world and national culture, its all-round harmonious development.

The favorable atmosphere inherent in animation programs serves as an environment for strengthening the effectiveness of interpersonal relationships, which forms in the child new opportunities for the manifestation of potential abilities with the successful implementation of which the mental and physical complexes are overcome. It is an animation therapy that shapes and heals the soul through art and culture.

L. Tarasov, in the content of animation activity, singled out cognitive, value-oriented, practically transformative and creative activity. In his opinion, the following forms of animation programs can be:

Sports and recreation;

Entertainment;

Cognitive (competitions, competitions, sports days, outdoor games, hiking, excursions, tour gatherings);

Creative and labor (auctions of crafts made from natural materials, amateur photography competitions, sand and ice sculpture exhibitions, festivals of author's songs and poems);

Cultural, educational and excursion animation programs (visits to museums, theaters, art galleries, exhibitions, concerts);

Competitive gaming and adventure programs (competitions, games, pirate trips, night trips, themed picnics);

Entertainment, dance, entertainment and folklore animation programs (competitions, festivals, carnivals, theme days, fairs, show programs, concerts, discos, dance evenings);

In the process of collective animation activities, the feeling of camaraderie is strengthened, labor activity is stimulated, a life position is developed, and the norms of behavior accepted in society are taught. This is a beneficial technique that creates an atmosphere for awareness of oneself, one's positive and negative qualities, the development of social self-awareness and self-knowledge.

M. Shakurova highlighted the distinctive features of the methodology for organizing leisure activities for children and adolescents:

Active use of various types of competition;

Mandatory evaluation of performance in order to encourage and stimulate activity;

The use of leadership mechanisms, with the help of which it is possible to achieve the unity of the group, to promote the establishment of collective relations;

Stimulation of intra-group cohesion;

Combination of group and individual work.

As a self-sufficient and promising direction in pedagogical activity, socio-cultural animation is understood as a structured educational process consisting of theoretical ideas, methods, principles, organizational forms of leisure pedagogy by means of which the required result is achieved.

Animation methods can be characterized as certain ways of implementing expedient and unobtrusive socio-psychological assistance to a person in the process of his socialization and life. The main groups of methods are distinguished:

Social protection;

Socio-pedagogical correction;

Creative rehabilitation;

Identification of dynamic tendencies of creative self-determination.

However, it is always necessary to remember that the priority in social and pedagogical activity is the fate of a particular child.

3. Means of socio-cultural animation in the educational process

Socio-cultural animation today is one of the most relevant pedagogical system, the subject of which are animators and individuals involved in this process. The competent organization of leisure time of the population forms a healthy moral and psychological climate in society, increases the cultural level, physical and moral recreation (restoration of human strength). Working with children requires special attention in animation activities. A properly built animation program is a lever to control the formation of a child's personality.

The main means in the work of an animator with children are: a living word (methodos "method" is of Greek origin, in translation it means "way of knowing"); radio; TV; seal; literature; art; sport; visual art and technical means. These tools do not act separately from each other, but are closely intertwined and interconnected. Their combination is due to the choice of the form of interaction, the thematic focus of the event: a conference, an exhibition, a round table, a competition, a disco, and so on.

Animation is inextricably linked with the social education of the child. The relationship of these two forms is designed to perform a number of common functions:

Adaptations and inclusions, the purpose of which is to ensure the socialization of the individual, its preparation for the diverse changes in the industrial society in economic and cultural terms;

Recreational, associated with the possibility of cultural development of the individual in practical activities in their free time;

Educational;

Cultural, where pedagogical animation appears as an intermediary structure between cultural creativity, the spread of culture and the children's audience;

Critical, acting as a catalyst in the search for new relationships between individuals and groups, the highest quality way of life

In working with children, the most common, leading means of rapid involvement in the process is a game or, as it is customary to call play therapy today. This unique, versatile and simple entertainment tool has great creative potential for the effective implementation of animation activities.

Game programs consist of competitions based on the competition method:

Artistic journalistic (the main method of illustration);

Folklore and spectacularly theatrical;

Dance and entertainment;

Sports (based on the method of physical relaxation and recreation).

Animation potential of the game:

Relieve stress from a person's stay in real life, getting a new positive life attitude;

Team building (the game contact of people with each other is so high that game communities can be maintained even after the end of the game);

Neutralization of the shortcomings of reality (opposition to the hard world of reality - the world of harmony and joy);

Submission to the rules of the game (the concept of honor, nobility, dignity, self-restraint and self-sacrifice in favor of the team);

Physical improvement of the body (training and application of various motor skills and actions);

Development of intellectual abilities (building a logical chain of actions during the game that require psychological and mental activation);

The possibility of manifestation of their creative abilities, their improvement in the process of game action;

The game is a powerful means of self-education and self-improvement, correction emotional state. With the right inclusion of the game in the entertainment program, it can significantly change the mood of people for the better, emotionally enrich and transform the personality.

Along with the game in the animation activity, the competition (from the Latin “collision, meeting”) is widely used. Competition and play are basically the same. In essence, this is a gaming activity, but involving the selection of a winner by means of competition, through a system of judging and evaluation. The main objective of the competition is to identify the leader, develop the abilities and interests of its participants. The competitive program is an emotionally rich and at the same time active form of leisure. This is a complex activity in which there are signs of cognitive, transformative, competitive, artistic, value-oriented and gaming activities.

Often, in animation activities, competitive-game and competitive-entertainment programs are harmoniously combined.

Another type of cultural animation of activity - theatricalization - has a bright spectacular character.

Theatrical programs are an ideological and artistic concept, an author's idea, an ideological position, a plot and its eventual basis. This is a fairly complex creative method, which has a capacious socio-psychological justification, which is closest to art. The spectacular and visual components of theatricalization are: scenography, costumes of the participants in the performance, the musical component, static-dynamic effects, as well as the audience, which creates an atmosphere of theatrical action with its emotional response. “The duality of theatricalization, synthesizing the real into artistic activity, is associated with specific moments in people’s lives that require an extraordinary understanding of this or that event, expression and consolidation of their feelings towards it.”

Rich information content dedicated to public and political events, holidays are artistic and journalistic animation programs, the main organizing method of which is illustration. The creation of a single, monolithic artistic and journalistic work occurs by combining publicistic speeches, documentary materials, ceremonies with poetic works, songs, music, fragments from performances and films. Special attention here it is given to the specific content of the artistic and journalistic program. Their preparation requires increased attention to the modeling of the content-text part of the program.

The most common type in animation activities are dance and entertainment programs (dance therapy). Their technological basis based on the method of rhythmic movement of the body. Animation properties of dance and entertainment programs were originally incorporated in the very nature of the dance and contain a relaxing, relaxing character based on dynamic movement. Dance promotes convergence of one's own reactions, causes a lot of emotional experiences such as joy, laughter, pleasure, which most often occur between two or more dancers. Dance and entertainment animation programs have a perspective and communicative character, therefore such programs have gained great popularity today and are being intensively implemented in entertainment establishments.

It is especially important that no matter what type of socio-cultural activity it belongs to, work is carried out at a high quality level, aimed at familiarizing a person with high cultural values, increasing his social activity, the realization of creative potential.

Animation, as a factor of human social activity, consists of many forms and methods, the application of which requires professionally trained specialists in this direction. social activities. In the arsenal of socio-cultural workers there should be a variety of means and methods of influencing a person designed to satisfy the socio-cultural interests and needs of citizens in the field of leisure, despite the difference in age, social status, health, spiritual preferences...

As a rule, work is carried out in the following areas:

Identification of socio-cultural interests;

Consolidation and coordination of the activities of out-of-school and other institutions to solve the problems of the complex organization of free time;

Revival of cultural traditions;

Organization of various forms of family leisure (joint pastime of children and their parents, friends, peers).

Interaction with children in the leisure sphere is differentiated, variable and individualized. Its educational effectiveness is determined by which individuals take part, to what extent they themselves feel themselves to be individuals and see a personality in everyone with whom they communicate.

The main tasks of leisure interaction are:

Formation in children and adolescents of motivation for various ways of amateur performance, including the invention of new free forms of creative pastime;

Formation and organization of primary interest groups;

Attracting the interest of children and adolescents through creative communication;

Organization of general holidays and events;

The main widely used methods in the organization of cultural and leisure animation for children and adolescents school age are:

Quizzes, olympiads;

Exhibitions of crafts, achievements;

Theatrical performances;

Concert programs;

Carnival ball, mass celebrations, parades, masquerades;

Mysteries, theatrical performances of plays;

Sports holidays with competitive elements;

Achievement award ceremonies with elements of theatrical and

concert numbers;

Discos, dance programs with games, etc.;

multimedia animation projects;

The last point requires special attention in view of its novelty and relevance. The rapid development of information interactive technologies invariably affects the educational process. Today, modern educational institutions have computer labs, classrooms with multimedia projectors, electronic boards, etc. The use of such aids significantly improves the quality of education, improves teaching methods. This is a powerful visual thinking tool that makes the learning process more effective and attractive, promotes the development of research skills in children, and provides an increased level of motivation and creative activity in the classroom. Multimedia projectors allow you to conduct lessons using multimedia lectures, electronic textbooks, illustrative presentations using photo and video materials, perform virtual mini-studies and much more.

One of the main advantages of using multimedia animation in working with children is the visibility and dynamism of the animated material. Conducting classes with the use of animated drawings, especially with elementary school students, contributes to an increase in a positive emotional and psychological background and, as a result, a more productive assimilation of the studied material.

The use of such animation is possible in the classroom of any academic disciplines, as well as when managing class hours, general and parent meetings and other events involved in the educational process.

The main thing is that the animation program, no matter what kind it may be, should give a feeling of emotional comfort for all its participants - a feeling of fulfillment of a desire, achievement of a goal, a feeling of joy, a surge of vitality and a psychological upsurge.

Leisure institutions such as theaters, museums, cinemas, the media, creative unions, technical and sports societies, and voluntary organizations act as an auxiliary link in the cultural and aesthetic education of children. Therefore, it is desirable to consolidate the positive result of the work done by visiting exhibitions, galleries, theaters, as well as religious, cultural and historical institutions. Such visits should be of an introductory, voluntary nature, leaving the opportunity for each individual to form his own point of view, worldview position on the information provided.

It is important to understand that any organized activity is not an end in itself - it is only a means to create an environment in which everyone can successfully develop. For children, this is especially important, because a well-organized social environment has a tremendous impact on raising the general level of a person's culture, awakens faith in one's strengths and capabilities, and establishes a new high-quality style of interpersonal communication.

Conclusion

Socio-cultural animation in the education of children is a currently relevant modern pedagogical system, the sources of self-organization of which are spiritual and cultural values ​​transmitted through animation activities from animators to the audience. In the space of leisure, the pedagogical process, the animator helps the emerging personality of the child to enrich his spiritual world, to avoid social maladaptation and deviant behavior, which is so widespread among teenagers today. Adolescents are a particularly vulnerable risk group because age contradictions come into conflict with the social environment, widely spreading negative phenomena throughout the country. The severity of this problem became especially noticeable at the end of the 20th century, when the difficult political and economic situation in Russia significantly weakened the social sphere, minimizing the work on conducting leisure-time employment of the population. Today, this task is being solved at the state level: Decree of the Government of the Russian Federation of July 31, 1998 N 867 “On approval model provision about educational institution for children in need of psychological, pedagogical and medical and social assistance. Thanks to the active work to stabilize the situation with the leisure employment of the population, including through the means of social and cultural animation, there has been a positive trend in the revival of a favorable spiritual and moral climate in society.

A special contribution to understanding the problem and for this study was made by the works of our compatriots N. Yaroshenko, E. Mambekov, L. Tarasov and others, which reveal the main essence and significance of socio-cultural animation as one of the most effective and rapidly developing areas of socio-cultural activities for the spiritual "health" of the population.

However, there remains a need for additional special studies and scientific justifications for sociocultural animation, since the area under study needs constant correction, taking into account macro and microeconomic changes in the life of the country, and, accordingly, the life of society as a whole.

The problem of solution in this direction in modern psychology and pedagogy is in the stage of active formation, however, the issues of the relationship and mutual influence of the educational and correctional and rehabilitation processes are practically not studied, there are no scientifically based programs for various contingents of children, in particular with deviant behavior, children with handicapped, with a lag in development, which makes the practice go through a difficult path of trial and error. Thus, the analysis of scientific literature gives grounds to conclude that the problem of using socio-cultural animation technologies in the education of children is insufficiently developed.

The purpose of this work was to study the role of socio-cultural animation in the education of children, their formation as harmoniously developed personalities.

To achieve the goal, the following tasks were set:

To study the degree of elaboration of the problem of socio-cultural animation in the world and in Russia in socio-pedagogical, historical and philosophical literature;

Determine the theoretical and methodological aspects of socio-cultural animation;

To study the role of socio-cultural animation in the formation of a child's personality

Analyze the psychological and pedagogical foundations of socio-cultural animation in the education of children;

The results and conclusions obtained in the course of the study make it possible to effectively carry out social and pedagogical work on the education of children during animation activities.

The study of the structure and content of socio-cultural animation, as well as its means, forms and methods in the education of children made it possible to establish the favorable impact of socio-cultural animation on the formation of a positive worldview and attitude of the individual.

Thus, the assumption about positive influence sociocultural animation on children in the process of learning and conducting leisure activities was confirmed.

The tasks set at the beginning of the study were successfully completed, which is confirmed by the data of the study.

This study is not exhaustive. The development of the topic of socio-cultural animation in the education of children requires further deeper scientific analysis.

Bibliography

1. Ariarsky M.A. Ivleeva I.A., Polagutina L.V. The technique of "immersion" in the specialty: scientific method. Allowance SPb.6SP6GUKI, 2007.p.

2. Mosalev B.G., Streltsov Yu.A. "Actual problems of socio-cultural activities" Ed. count T.G. Kiseleva; Sat. Art. -M.: MGUK, 1995.- 121 p.

3. Akimova L.A. Sociology of Leisure: Textbook, manual Akimova L.A. -M.: MGUKI, 2003. 124 p.

4. Mambekov E.B. Organization of leisure in France: Animation model: author's abstract, dis. ... cand. ped, sciences /. - St. Petersburg, 1992.

5. Andreeva A.Yu. "Technologies of socio-cultural animation as a means of patriotic education of youth" Tambov, 2009

6. Bityanova N.R. The problem of personality self-development in psychology: Analytical review, N.R. Bityanova.- M.: MPSI; Flint, 1998. - P.78.

7. Nikitsky M.V. Theoretical and historical aspects of modern socio-cultural animation activity / M.V. Nikitsky // Bulletin of the Orthodox St. Tikhon Humanitarian University. Series 4: Pedagogy. Psychology. - 2008. - No. 10

8. Ganshina G.S. Socio-cultural animation as a form of creative self-realization. In: Socio-cultural animation: from idea to implementation. Collection of scientific articles / - Tambov, TSU, 2010.

9. Tarasov L.V. Socio-cultural animation: origins, traditions, modernity: monograph M .: TsSA "Inspiring", 208. P. 132

10. Tarasov L.V. Methodological approach to assessing the animation potential of the practice of socio-cultural activities. Socio-cultural animation: from idea to implementation: material of the 4th international forum December 8-16, 2009. TSU Publishing House. G.R. Derzhavin s. 165

11. Grigorieva E.I. Modern technologies of social and cultural activities: Proc. - method, manual / E.I. Grigoriev. Tambov

12. Dedurina T.V. A functional approach to the development of animation activities of cultural institutions: a socio-cultural aspect (Diss ... candidate of ped sciences M 2009)

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Socio-cultural animation is one of the relatively young branches of applied social psychology and pedagogy, which is increasingly referred to as the pedagogy of socio-cultural activities. Being a special and completely self-sufficient element of socio-cultural activity, animation is included in the leisure infrastructure of the population of various countries of the world. Sociologists note the growth of the free time budget and the change in this regard, the interests and needs of people in the field of recreation, tourism, amateur art, and public amateur performance.

The leisure sphere is turning into a space for the implementation of civil initiatives, attracting the population to participate in significant cultural, educational and socio-pedagogical projects.

Term "animation"(from lat. animation - revitalize, inspire, inspire) first appeared at the beginning of the 20th century. in France in connection with the introduction of a law on the creation of various associations and was interpreted as an activity aimed at provoking and enhancing a keen interest in culture and artistic creativity.

In Russian society, the trend of initiating social movements in the field of leisure is currently very relevant. Therefore, it is important to turn to the world experience in organizing expedient, accessible and unobtrusive socio-cultural activities. The study of theoretical ideas and technologies of French socio-cultural animation is updated by a number of typically Russian reasons, among which the following should be highlighted:

change in spiritual and ideological foundations in the organization of pedagogical work in society;

change in the economic status of socio-cultural activities;

the need to find an "entrepreneurial niche" in the field of free time;

reorientation of socio-cultural activities to a diverse range of real needs of the population, manifested in the period of social disintegration, disunity, loss of value orientations of social and personal development.

By the end of the 20th century, socio-cultural animation was already an independent direction of psychological and pedagogical activity in the field of cultural leisure.

Sociocultural animation (animation) is a special kind of cultural and leisure activities of social groups and individuals, based on modern (pedagogical and psychological) humanistic technologies for overcoming social and cultural alienation.

Summarizing 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 a part of the cultural and educational system of society and can be represented as a special model of organization (institutions, enterprises ) socio-cultural activity: as a set of elements (institutions, state bodies, organizations, audiences) that are in permanent relationships that characterize this model; a set of occupations, activities and relationships, where the leading role is played by animators, professional or voluntary, with special training and using, as a rule, methods of active pedagogy.

Further, Mambekov refers to the studies of R. Laburi, who notes that the phenomenon of animation has a dual meaning, being both a method of adaptation, social therapy, and an ideology of liberation through participation: “Most of the definitions given by animation express a pedagogical project for the growth of self-awareness, participation and social creativity : Behind these intentions, which express great plans for social and cultural recovery, there is a certain ideology on two levels.

The first is the level of educational sociology: for some, the growing role of the animation apparatus, its activity, the service of visitors, the strengthening of the position of professional workers, that is, the importance of educational technology; for others, animation is to a lesser extent the creation of an apparatus and, to a greater extent, the emergence of a group that forms its own community of values, interests, actions and creates its own social project.

The second is the level associated with the main ideological currents of French sociology.

For some, the function of animation is to unlock social bonds, to establish warm, trusting relationships. Others see it as a function (according to the traditions of French culture) in learning and mastering the great languages ​​of thought, aesthetics, poetics, economics. In the Marxist understanding, animation is seen in the perspective of the expansion of human consciousness, seen as a complete liberation; it opens up opportunities for critiquing existing institutions and transforming economic and political structures.”

Animation in tourism is a holistic process of interaction between animators and tourists in the leisure sector based on the combination of formal leadership and informal leadership of a specialist who interacts. As a result of such interaction, the relaxation and health-improving, cultural and educational, cultural and creative needs and interests of the participants in this process are satisfied, conditions are created for the formation of a socially active personality capable of transforming the surrounding reality and oneself in it.

Such a detailed definition as a whole fairly reflects the specifics of animation activity, which manifests itself at the organizational, activity and methodological (technological) levels. At the same time, one cannot limit the essence and specifics of this phenomenon only to external manifestations, because a very important component of socio-cultural animation is its spiritual, ideological potential.

The very concept of "animation" allows, on the one hand, to accurately characterize the goals of sociocultural activity, to identify its inspiring, consolidating nature, and on the other hand, to designate the actual spiritual (anime- dusha) aspect of the relationship between the subjects of the pedagogical process (special ways of communication, dialogue filled with genuine sympathy, empathy, assistance), based on a deep appeal to the eternal value-semantic absolutes of spirituality.

Thus, the main directions of animation work are overcoming personal tendencies towards social disintegration (prevention of social and psychological deviations, for example, deviant behavior of adolescents, drug addiction, alcoholism, suicide, etc.); rehabilitation of critical states of personality; assistance in the creative self-realization of the individual.

Socio-cultural animation uses traditional types and genres of artistic creativity as the main methods of "revitalization and spiritualization" of relations between people. This is what allows us to recognize it today as an alternative direction for the development of cultural and leisure activities.

The fundamental novelty of animation activity can be characterized by new goals, objectives and applied technologies that determine the process of optimizing interpersonal and intergroup relationships.

Content
Introduction...2

1.1. Modern technologies in Russia4

2.1. The concept of socio-cultural animation...6
2.2. Tasks 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 recreation 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 animation programs of a cultural, educational, sports, tourist, and entertainment nature in the content of tourist routes and trips, in the operation of hotels increases their prestige and demand in the tourist services market.
Having fun, a person or a group of people satisfies his spiritual needs, evaluates his own personality, analyzes his 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 the prevailing prerequisites. The entertainment industry, solving multifaceted tasks (first of all, education, the formation of an optimistic mood, education, recreation, the development of a person’s culture), essentially forms and develops a person. Filling with entertainment, a person restores himself as a labor unit as well as part of his free time.
In the world practice, tourism enterprises, including tourist accommodation facilities, belong to the sphere of servicing the population with entertainment. A number of enterprises, organizations, institutions provide entertainment in the form of their secondary activities. In addition to hotels, these include recreation areas and historical sites.
The entertainment industry acts as an independent, relatively isolated link economic system, attracting significant material, financial, labor resources. In this regard, entertainment enterprises are characterized by specific technologies, management systems, performance results, labor organization, personnel.
The study of tourists as consumers of concrete results of the entertainment industry is certainly of great importance. Special activities are also carried out, purposefully causing the corresponding emotions. The patterns of consumption of entertainment products must be studied in relation to the previous way of life of a person.
The purpose of the work is to study the relationship associated with the process of social and animation services.
The object of research is the process of animation itself.
The subject of the research is modern technologies and animation methods and techniques that ensure the overcoming of social and cultural alienation.
To achieve the goals of this work, it is necessary to define the following tasks:
- the concept of socio-cultural technologies;
- study of the concepts of socio-cultural animation, definition of its tasks;
- study of animation directions.
The structure of this work consists of: introduction, three chapters, including ten paragraphs, conclusion and bibliography.
Chapter 1. Socio-cultural technologies
1.1. Modern technologies in Russia
The modern period of development of social practice in Russia is characterized by the wide use of various social technologies - from monotechnologies to polytechnological systems. The social space is expanding in which individual technologies or their combination find their application: from political and elective to sociological and analytical, from Internet technologies to technologies of various types of communication, from educational and pedagogical to technologies for providing targeted social services to various groups of the population and etc.
The penetration of technologies as an instrumental cognitive and transformative means into various sectors of the social sphere (not to mention others) can rightly be considered as one of the patterns of development of modern society, and in the sectors of social work and socio-pedagogical activity - as a stable trend their development (which is confirmed by the exponential growth in the number scientific research and publications on this issue). At the same time, each technology has a well-defined theoretical and methodological potential for cognition and transformation of social practice.
Naturally, the analysis of this potential can be carried out from different positions: from the point of view of various sciences and scientific disciplines; goals and target orientations; functional purpose of a particular technology; definitions of their nomenclature; revealing the structure, content, sequence, etc., i.e. within a wide range of evaluation criteria for these technologies
In the process of constant changes taking place in society, the idea of ​​\u200b\u200bthe possibilities, abilities and goals of a person in the modern world is also changing. Modern reality makes special demands on a person, dictates to him the need to combine costs and restore vitality, by balancing passivity and activity. The importance of a person's personal activity, initiative, and ability to creatively perceive reality is increasing more and more. However, not every person has such qualities, especially at the time of experiencing a difficult life situation. One of the most acute problems of our time is the loss of work by able-bodied citizens of the country. For most people who have lost their jobs for various reasons, there comes a period of difficulties, illness, poverty, and a passive attitude to life.
Chapter 2. Socio-cultural animation
2.1. The concept of socio-cultural animation
Animation in the generally accepted sense of an owl is a certain type of activity that pursues the goal of developing and presenting special programs for spending free time. Animation programs include sports games and competitions, dance evenings, carnivals, games, hobbies, spiritual activities, etc.
Socio-cultural animation is a special type of socio-cultural activity of social groups and individuals, which is based on modern technologies (socio-pedagogical, psychological, cultural, etc.) that ensure the overcoming of social and cultural alienation.
Socio-cultural animation technologies offer in the form of the main ways of "revitalization" and "spiritualization" of relations between people, the extensive use of public spiritual and cultural values, traditional types and genres of artistic creativity, thereby providing the individual with certain conditions for inclusion in creative, health-improving, educational, entertaining and other types of social and 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 artificially created environments.
The main goals of the entertainment industry are the creation of certain conditions for entertainment, otherwise, the totality 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 the prevailing prerequisites. Dealing with the solution of multifaceted tasks, such as education, the formation of an optimistic mood, education, as well as recreation, the development of human culture, the entertainment industry, in its essence, forms and develops a personality. Filling with entertainment, a person restores himself as a labor unit as part of his leisure time.
The entertainment industry is an independent, relatively isolated part of the economic system, attracting quite significant, both material and financial and labor resources. In this issue, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
Socio-cultural animation is one of the main links in the general entertainment industry, using specialized techniques and techniques.
2.2. Tasks of socio-cultural animation
Socio-cultural animation, in its essence, is a pedagogy of understanding and mediation, designed to establish relations of equality, overcoming hierarchical subordination, establishing personal relationships on the basis of greater freedom and independence, providing an individual choice in activity, creativity and communication.
Most modern technologies of socio-cultural animation involve a comprehensive solution to various human problems, giving him the opportunity to self-identify as a full-fledged 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, there is a question of every kind of overcoming social isolation, psychological alienation not only of the disabled, 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 a full-fledged social status acquires the meaning of a struggle for life, and the rhetorical question "life or death" for many of these people becomes decisive. This provision encourages animators, who can act as social workers and social educators and other specialists in social and cultural activities to seek and find ever 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 social and cultural animation, the interweaving of both philosophical and ideological approaches and various applied practices, from psychotechnical to theatrical, is absolutely bizarre. 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" relations between people, it is this approach to the problem that has made it possible to recognize socio-cultural animation as an innovative direction today. in order to develop socio-cultural activities.
Socio-cultural animation, today is one of the most intensively developing areas of modern socio-cultural activity, involving the implementation of programs for creative rehabilitation, active recreation, socio-psychological consolidation of social groups based on cultural values.

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Chapter 3 Animation Directions
3.1. Animation for the unemployed
In the modern theory and practice of socio-cultural activities, animation technologies are innovative, which involve solving issues of various problems of the individual, which create certain conditions for the inclusion of the individual in socio-cultural activities in the complex.
Socio-cultural animation (animation) is considered a special type of socio-cultural activity of social groups and individuals, which is based on modern technologies (social, pedagogical, psychological, cultural, etc.) that provide problem solving social and cultural alienation.
Socio-cultural animation is focused on the personality of a person, fully focusing on the formation of its independence and activity.
Animation work can solve a complex of interrelated tasks:
- a comprehensive assessment of the crisis situation, assistance in understanding the value subtext by the individual;
- assistance in determining and understanding which way of action in a particular situation to use in achieving the desired goal;
- bringing the personality to the need to realize the irrational subtext of the situation, i.e. the forces that stand behind the openly manifested desire, the awareness of one's own unconscious desires;
- identification and assistance in realizing the real possibilities, between which there is a choice;
- assistance in understanding the consequences that may entail a decision in a particular case;
- bringing a person to the awareness that awareness as such does not change the crisis situation without a special desire to act.
Socio-cultural animation has a humanistic orientation, since its subject is a person capable of self-actualization, self-development, self-improvement.
Social and cultural animation provides not only the provision of psychological, psychotherapeutic support to the categories of citizens in need of this, it also offers conditions and methods for a constructive way out of a person from a difficult life situation. Applying the technologies of social and cultural animation in practice, we get a comprehensive assessment of the crisis situation, the definition of the most constructive ways of behavior in it to achieve the goal.
Among the main directions of animation work with various categories of citizens, the most basic, in our opinion, are the provision of assistance in overcoming difficult life situations and critical states of the individual, with the help of psychotherapeutic training and rehabilitation by creativity.
Persons left without work are the social group most in need of socio-psychological, psychological-pedagogical, socio-cultural assistance.
The most optimal solution to the problems of the unemployed is seen in the creation of stable, stimulating conditions for the formation of their active life position. Episodic exposures have only a temporary effect, giving only temporary positive results.
A more effective process of forming an active life position of the unemployed is seen in the introduction into practice of well-planned animation programs of a complex nature.
Animation programs are most often complex in nature, and involve the use of the whole variety of means, forms and methods of work. They combine events of various kinds. This combination, depending on the goal, makes these programs more effective, rich, and interesting.
When developing and organizing animation programs, it is necessary to take into account the peculiarities inherent in people who are left without work. After the dismissal, the activity of people as a whole decreases. The unemployed are more characterized by a passive, dependent position. The inertia of consciousness and the instability of the situation in society makes it difficult to constructively overcome the situation of unemployment. Most people who have lost their jobs consider themselves victims of the socio-economic changes taking place in society. Job loss for them is not a kind of incentive to be active, it is stress, for the most part leading to depression and social illness. The unemployed experience difficulties in setting a clear goal of their activities, as well as methods for achieving it.
Realizing the complexity of the situation of people left without work, it can be assumed that the development and implementation in the practice of institutions of the socio-cultural sphere of animation programs to form an active life position of people left without work is one of the conditions for their successful exit from the crisis, difficult life situation.
Animation programs for the formation of an active life position of people left without work should be aimed at actualizing the need for self-improvement, self-development; increasing the level of self-assessment of the unemployed; formation and development of skills and abilities, acquisition of new theoretical knowledge and ways of their practical application; active involvement of the unemployed in social and cultural activities; on the formation of their positive life prospects, etc.
Thus, animation technologies for the formation of an active life position of people left without work are of no small importance at the present stage of development of society. The problem of their application requires deep reflection and specific practical developments.

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