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Ministry of Culture of the Russian Federation
Federal State Educational Institution of Higher Education
Tyumen State Institute of Culture
Faculty of Music, Theater and Choreography
Department of sports and variety dances
Course work
Introduction to Pedagogy of Arts Education
Art education as a phenomenon of artistic culture
4th year student of SET,
Scientific adviser: Ph.D.
Associate Professor V.S. Lebedev
Tyumen, 2016
Introduction
Chapter 1 Methodological foundations for the development of art education
1 The concept of art education
1.2 Goals and objectives of art education
4 Effective Ways to Implement Arts Education
Chapter 2 The role of the formation of artistic culture
1 The concept of artistic culture
2 The structure of artistic culture
Conclusion
Bibliography
Introduction
Relevance. The paper deals with one of the important problems in the history of education: the formation and development of art education in Russia, which is due to conflicting trends.
The coming era is the era of a developed, spiritually directed, creative, individual person. The processes of social development are directed at the individual, at the individuality, which is in a holistic educational process. At the same time, integrity in education is determined by the high quality of the formation of a social person, the disclosure of his natural essence, his formation in the fullness of the possibilities given to him by nature. The axiom of the new pedagogy states that in the process of education, including self-education, a whole, harmonious person is formed, in that understanding of integrity and harmony, which constitutes the unity of man and the world and gives rise to a “spiritual attitude to all phenomena of the world”.
The system of art education has two main components: art education as part of general education and professional art education. Questions about the role of art education are reflected in the numerous works of philosophers, sociologists, psychologists, art critics, teachers, scientists and practitioners, creative workers, artists of different historical eras (Platon, T.G. Grushevitskaya, L.S. Vygotsky, G.M. Agibalova, L.N. Moon, N.K. Shabanova, A.I. Kravchenko, etc.).
Many generations of teachers, researchers, artists, noting the socio-moral, educational, educational, aesthetic functions of art, returned to the idea of the need for artistic education of the whole people. One of the conditions for successful human activity is the artistic development of the individual, which, on the one hand, affects the spiritual culture of a person, and on the other hand, the realization of his creative inclinations. The artistic development of a person is a way of transferring universal human values from generation to generation, the perception and reproduction of which leads to moral and creative self-development. Art education is aimed at forming a culture of perception of the surrounding world, developing the ability of an individual to transform himself and reality.
Education and culture are directly dependent on each other. If education is the culture of the individual, then art education is the artistic culture of the individual. Art education is a long and unfinished process. It always has an intermediate result, but it can be said with confidence that the growth of the artistic culture of the individual determines the growth of the cultural potential of society.
The object of research is the process of art education and artistic culture.
The main goals of art education at the present stage can be considered to increase the general level of importance of culture and art in education, as well as to preserve and develop the unique system of art education that has developed in Russia in the field of culture and art.
Art education is designed to ensure the implementation of such tasks as:
formation and development of aesthetic needs and tastes of all social and age groups of the population,
training of creative personnel for professional activities in the field of art and culture, as well as teaching staff for the system of art education;
realization of the moral potential of art as a means of formation and development of ethical principles and ideals of the individual and society;
widespread introduction of art education as a factor of intellectual improvement, contributing to the disclosure of the creative potential of children and youth;
involvement of all groups of the population in active creative activity, involving the development of basic artistic and practical skills; identifying artistically gifted children and youth, providing appropriate conditions for their education and creative development.
Artistic culture plays a specific role in the spiritual life of man and society. It is thanks to art education and artistic culture that it is possible to perceive the world in its entirety, in the inseparable unity of personal experience, the existence of culture and the experience of all mankind.
The work consists of: introduction, chapter 1, chapter 2, conclusion, list of references.
Chapter 1. Methodological foundations for the development of art education
1Art education concept Art education is the process of mastering and appropriating by a person the artistic culture of his people and humanity, one of the most important ways of developing and shaping an integral personality, its spirituality, creative individuality, intellectual and emotional wealth. A necessary component of the aesthetic, pedagogical and psychological aspects is the history of art education, which studies the dynamics of the development of this phenomenon in various time frames. For the study and understanding of the historical and cultural context of the development of art education, the works of N.N. Fomina, B.L. Yavorsky, S.V. Anchukova, R.V. Vardanyan, K.N. Machalov, N.K. Shabanova, A.V. Bakushinsky, A.P. Sadokhin and others. Works devoted to the general issues of artistic culture, its content, structure, social functions, individual levels and types are essential for studying the processes of art education. The works of L.S. Vygotsky, A.V. Bakushinsky, Azarov, L.N. Dear. The current state of the system of art education in Russia is related to the research of N.Kh. Veselya, G.A. Gippius and other authors. The concept of art education in the Russian Federation (hereinafter referred to as the Concept) is based on the fundamental state document - the "National Doctrine of Education in the Russian Federation", which establishes the priority of education in state policy, determines the strategy and directions for the development of the education system in Russia for the period up to 2025. The concept reflects the will of the state in the implementation of the constitutional rights and freedoms of a person and a citizen of Russia in the field of culture and art: the right to participate in cultural life and use cultural institutions, access to cultural property; freedom of literary and artistic forms of creativity, teaching, protection of intellectual property; the obligation to take care of the preservation of historical and cultural heritage, to protect historical and cultural monuments. The concept defines the strategic directions of state policy in this area, indicates the prospects for the development of art education in the unity of goals, objectives and ways to achieve them. The implementation of the Concept will become the basis for spiritual revival in the field of education, culture and art, the development of human individuality, including the socio-cultural and creative aspects of the individual. The practical implementation of this super-task should be based on the historically established system of art education in Russia. The system of art education includes aesthetic education, general art education and professional art education. The implementation of art education programs is carried out in all types and types of educational institutions: kindergartens, secondary schools, institutions of secondary vocational, higher and postgraduate professional education, in all institutions of additional education, including children's art schools. Institutions of culture and art play an important role in art education. 1.2 Goals and objectives of art education The goals of art education at the present stage are: ensuring the implementation of the National Doctrine of Education in the Russian Federation; raising the general level of importance of culture and art in general education; preservation and development of the unique system of institutions of art education in the field of culture and art that has developed in Russia. Based on them, art education is designed to ensure the implementation of the following tasks: creation of an aesthetically developed and interested audience of listeners and viewers, activating the artistic life of society; preservation and transmission to new generations of the traditions of domestic professional education in the field of art; familiarization of Russian citizens with the values of domestic and foreign artistic culture, the best examples of folk art, classical and contemporary art; identifying artistically gifted children and youth, providing appropriate conditions for their education and creative development. the formation of cultural and historical competence, which implies the study of the theory and history of art from different eras and peoples; the formation of artistic and practical competence, which implies mastering the means of artistic expression of various types of arts; the formation of artistic taste and evaluation criteria in the context of spiritual, moral and aesthetic ideals. The implementation of the content of art education occurs at three levels: the formation of an attitude to culture as the most important condition for the free and versatile development of one's own personality; the formation of the need for full-fledged artistic communication with works of various types of art on the basis of their adequate aesthetic assessment; the formation of skills of independent artistic activity, the perception of this activity as an integral part of one's life. For each stage of art education, some of its aspects act as dominant, leading, while others - as additional and accompanying, and age characteristics play an important role here. At preschool age, the main role is played by the formation of an aesthetic attitude to the outside world, which are inscribed in his own life. In elementary school, the basic foundations are formed, primary personal information is acquired, the artistic and practical skills of the child. In the basic secondary school, teenagers learn the language of various types of art, which gives them the opportunity to independently comprehend works of art, and also creates the prerequisites for their own artistic activity. In secondary specialized and higher educational institutions, young people come to a full-fledged socio-cultural self-identification, realizing their belonging to a certain cultural stratum with its special artistic and aesthetic ideas and tastes, on the basis of which certain priorities are formed in their own artistic creativity. the beginning of education from an early age, the continuity and succession of various levels of art education; reliance on national and cultural characteristics in the preparation of curricula in the arts; an integrated approach to teaching art disciplines based on the interaction of various types of arts; distribution of variable educational programs of different levels, adapted to the abilities and capabilities of each student; introduction of personality-oriented methods of artistic and educational activities, individualized approaches to especially gifted individuals and other categories of students. artistic aesthetic culture education 1.4 Effective ways to implement arts education The implementation of this Concept involves a set of organizational, managerial, socio-psychological, material, technical and personnel conditions, the main of which are: formation at the state level of attitude towards art education as a particularly significant area of human activity, vital for the development of Russian society; interaction of culture and education management bodies at the federal and regional levels on the basis of interdepartmental coordination plans and programs; preservation and development of the existing network of educational institutions of culture and art; determination of the legal status and regulatory framework for the activities of educational institutions of culture and art in the general system of Russian education; continuous updating of software and methodological support, content, forms and methods of art education, taking into account the best domestic experience and world achievements; active participation of mass media in art and educational activities; publication of new textbooks, manuals, monographs on art, history and theory of artistic culture; improving the activities of cultural and art institutions for the development of mass public forms of art education and artistic and creative activities for various groups of the population; increasing the role of modern information tools and technologies in the artistic and educational process. This Concept is interpreted as an integral system in which the goals and objectives of art education, the ways of their implementation are a set of interrelated provisions and principles. Defining priorities in the field of art education in Russia, the Concept is a document for developing a strategy for the cultural policy of the Russian state in this area. Its implementation will serve the all-round growth of the creative potential of all citizens of the country, the prosperity of national culture. Chapter 2. Role in the formation of artistic culture 1 Concept Artistic culture Artistic culture is one of the components in the system of functioning of the “second nature” of a person. Perhaps this is one of the most stable humanitarian components of culture in general, in which the ideas of each specific type of culture about the spiritual values of a given cultural era are expressed in a special sign-symbolic form. Interestingly, in the everyday, widespread idea of what culture is, the idea that culture is something that is associated with aesthetic activity in general prevails. It is in the sphere of artistic culture that a holistic vision of all the features, complexities and patterns of the existence of culture is created, expressed in a special form of languages of specific types of art. One of the most important components of the spiritual culture of mankind is artistic culture, which, together with cognitive, religious, moral, economic, political culture, is called upon to form the inner world of a person, to promote the development of a person as a creator of cultural values. Artistic culture is also a certain type of human activity, a specific way of realizing the creative potential of a person. Artistic culture can be understood both essentially and functionally in the context of the entire spiritual culture. Artistic culture is the culture of art production, the culture of its dissemination, propaganda, the culture of its perception, understanding, the culture of enjoying art. Artistic culture develops the sphere of artistic values that are most directly related to the aesthetic values represented in culture. The concept of the aesthetic is a broader concept than the artistic one, since the aesthetic, being included in the system of cultural values, does not necessarily have a man-made nature. Aesthetic activity is based on the idea of beauty as a central universal aesthetic category. In addition, it presents the sublime, comic, tragic and other aesthetic categories. Aesthetic activity is realized in extremely diverse spheres of human activity: Practical activities Artistic and practical activities (carnivals, holidays, etc.) creative activity. Artistic culture is a complex systemic formation, in the existence of which two most important aspects can be distinguished: Firstly, this is what is connected with the organizational side of the functioning of artistic culture. In any, perhaps, historical type of culture, there are special social institutions that are responsible for ensuring the conditions for the functioning of artistic culture, for the creation, dissemination and perception of aesthetic values. This is, first of all, a system of educational institutions, education in which allows you to join the artistic traditions, which ensures a certain continuity in relation to aesthetic values; publishing institutions, organizations engaged in concert and exhibition activities, etc. The invention of cinema, radio, television, and later the Internet system made it possible to speak of truly mass communication. It was thanks to these inventions that an almost unlimited opportunity arose to demand any cultural information and familiarize with the artistic values and achievements of human culture. Of course, it is necessary to keep in mind the problems that appeared simultaneously with the formation of the body of mass culture. However, I would like to note the significant positive aspects of the functioning of mass culture. For example, this is the possibility of forming humanistic ideas through the appeal of mass culture to universal values, and, as a result, the possibility of intracultural and intercultural dialogue. Secondly, this is that part of artistic culture that is directly related to creative activity and its results. These are arts with their special language inherent in each species separately, the creative process of their creation. It is thanks to artistic culture that it is possible to perceive the world in its entirety, in the inseparable unity of personal experience, the existence of culture and the experience of all mankind. 2 The structure of artistic culture Until now, there are many approaches to the definition of the essence, structure and function of culture. This is explained, first of all, by the complexity of the very composition of culture, the heterogeneity of cultural phenomena, which gives rise to different approaches to its study. At the same time, an integrative concept is being developed, based on the application of a systematic approach to the analysis of culture. Its essence lies in the fact that the essence of culture is revealed as a result of its consideration in an integral system of being, one of the forms of which is culture. The original form of being is nature, and at a certain stage in the development of nature, a new form of existence, different from the natural one, is born - human society. In society, being passes from a natural, spontaneous form of existence to a different type of functioning and development, which is manifested not by biological imperatives of behavior inherited from generation to generation, but by principles of activity developed by people during their lifetime. Therefore, the third form of being turns out to be man himself, synthesizing natural and social patterns in his existence and behavior, man as an embodied dialectical unity of nature and society. But thus linking nature and society, man becomes the central link in the chain of basic forms of being. Culture appears before us as an active and historical unfolding process, covering: a) the quality of the person himself as a subject of activity - the quality of the supernatural, i.e. those that, relying on the possibilities given to him by nature, are formed in the course of the formation of mankind and are recreated each time again in the biography of each individual (according to the law, "ontogenesis" repeats "phylogenesis"; b) ways of human activity that are not innate to him - neither to the species nor to the individual - but invented by him, improved and transmitted from generation to generation thanks to training, education and upbringing; in philosophical language, this activity is called "objectification of the essential forces of man"; c) a variety of objects - material, spiritual, artistic - in which the processes of activity are objectified, forming, so to speak, a "second nature", created from the material of the "first", true nature, in order to satisfy supernatural specifically human needs and serve a transmitter of the experience accumulated by mankind from generation to generation; this objectivity of culture turns out to be the otherness of man, because it separates from him and acquires other, different from human, forms of existence - forms of tools, scientific treatises, ideological concepts, works of art; d) again a person whose second role in culture is expressed in the fact that, thanks to deobjectification, he enriches himself, develops, masters culture and thereby becomes its creation; e) the force that connects a person with a person in culture is the communication of people, and then their communication with natural phenomena, things, works of art. Culture has three modalities: human, in which it appears as the cultural potential of a person (both humanity and personality), acting as the creator of culture and its creation; procedural activity, in which culture acts as a way of human activity - in the activity of deobjectification and in the activity of communication of people participating in both processes; subject, in which culture embraces the diversity of material, spiritual and artistic creations that form second nature - man-made the world artificial objects: world of things , world of ideas and world of images .
In this three-dimensionality culture really lives, functions and develops as an integral system. Structural changes in the history of culture are expressed, first of all, in the fact that the ratio of its main layers - material, spiritual and artistic - is changing (but the main functions of each of them are preserved). The study of the history of artistic culture is of interest not only for a deeper understanding of the history of all arts, but also as the main source for studying the history of culture, the macrocosm of which is reflected in the microcosm of art images. The theoretical and historical study of artistic culture helps to understand the place that art occupies in culture as a whole. Conclusion This work allowed us to draw the following conclusions: The most important task of art education is the development of personality through the formation of its complex inner world. There is a receipt of scientific knowledge about the objective world around and the development of aesthetic tastes, creative perception of this objective world. Expanded art education, combining in a syncretic unity the richness of the synthesis and interaction of the arts and the possibilities of pedagogy, creates an optimal holistic educational and developmental complex capable of integrating the spiritual potential and cultural traditions of art, creating an artistic and aesthetic environment for the formation of an active creative personality. Art culture and art education is the main means of aesthetic education. The study showed that the cognitive interest in art and creativity in Russia is quite large, and the presence of interest is the first of the conditions for successful education. Art education and spiritual development is a complex, multifaceted process, and artistic culture plays a significant role in it. Artistic culture not only develops the level of knowledge, but also forms the mental world of the individual, they also help to include subjective aesthetic values in the emerging socially significant values, and this is the main task of student-centered learning. Everything created by professionals and amateurs is included in the concept of artistic culture. And what is created by masters of their craft, professionals, and worthy of being preserved for centuries as having the highest value for society, is art and creativity. Based on the above, it should be noted: “Culture is the most important component of comprehensive education, which ensures the full development of the individual. Therefore, the right to arts education is a universal human right, the right of all students, including those who are often excluded from education - immigrants, cultural minorities and people with disabilities. Bibliography 1. Azarov A.Yu. Problems and aesthetics of modern art education. Moscow, Moscow Friend Publishing House 2008 Agibalova G.M. The role of art education in the formation of spiritual and knowledge competencies // Educational technologies of the XXI century / Ed. S.I. Gudilina, K.M. Tikhomirova, D.T. Rudakov. M.: Publishing House of the Institute of Content and Teaching Methods of the Russian Academy of Education, 2006. S. 223-225. 3. Bakushinsky, A.V. Artistic creativity and education. M., 1925. Vardanyan Rudolf Vardanovich. World Artistic Culture: Architecture / R.V. Vardanyan.-M.: Vlados, 2004.-400s.: Ill. Vygotsky L.S. Imagination and creativity in childhood. SPb., 1997. S. 96. Art and education. Journal of methodology, theory and practice of art education and aesthetic education. No. 4, 1998 Kravchenko A.I. Culturology: Textbook for universities. - 3rd ed. M.: Academic Project, 2002.- 496 p. The concept of art education as the foundation of the system of aesthetic development of students at school: Project. M., 1990 Moon L.N. The improvisational nature of the synthesis of arts // Pedagogy of art (electronic scientific journal: art-education.ru/AF-magazine), 2008, no. 3. - 0.5 p.l. Moon L.N. Synthesis of arts in the history of artistic culture // Aesthetic education, 2001, No. 3. - P. 8-12 - 0.5 pp. Machalov K.N. "Russia as the main guardian of the education of artistic skills", Nauka publishing house, Moscow, 2005
OUTLINE OF THE HISTORY OF THE REFORM OF "ACADEMIC" ART EDUCATION IN RUSSIA
"Academic School" is the oldest of the Russian systems of professional art teaching. For two and a half centuries of almost continuous development, the Russian "academic school" has evolved external forms, preserving the fundamental foundations of "academism" not so much as a stylistic trend, but as one of the fundamental principles of the European system of art education. Russia borrowed the "academic school" from outside, and since it was not a natural product of Russian life, it took considerable effort and more than half a century to adapt foreign traditions before they became an organic part of the national culture. The emergence in Europe by the middle of the 16th century of an “academic” system of teaching the fine arts should be seen as a reaction to the impoverishment of the possibilities of handicraft, guild education. The sign of the "academic school" was the desire to develop, ideally, unified educational programs that teach by their very essence, and are quite autonomous in relation to the merits or demerits of the teachers who use them. Naturally, pedagogy in the field of arts is by its nature doomed to be "author's" and its results largely depend on the creative self-sufficiency of the teacher. The real "academic school" includes the "author's" beginning. The fundamental principles of academism are designed for development in a long historical perspective, in contrast to the declared bright "author's" schools, which are usually suppressed already in the second generation of their adherents.
Academies of art - as an idea born of the Italian Renaissance and inherited from it the dispute - what should reflect or what should art imitate? Nature or classical, selected and conscious as significant samples. This dispute-questioning is directly related to the methodologies of teaching art, and the difference in answers gives specialness to certain areas of the "academic" school. It is these differences that underlie the two Russian academic traditions - "Petersburg" and "Moscow", from the fruitful cooperation-rivalry of which the diversity of Russian visual culture has been born over the past century and a half.
The veneration of traditions should be attributed to the generic features of the "academic school". In this it is akin to fundamental science. History shows that Russia is predisposed to the development of fundamental trends in science and art, with some damage to applied practicality. And this feature, apparently, should be considered as the mentality of the Russian civilization, as our contribution to the global consonance of cultures. The process of formation and accumulation of tradition in the art school is internally contradictory. On the one hand, the school communicates with the past, separating its experience, broadcasting its merits, but on the other hand, it must adequately relate to reality, unravel development trends, and predict its future relevance to the times. As a result, the art school should provide both stability and development. Within a single natural school, different tendencies can manifest themselves, ranging from fruitful conservatism and traditionalism as the foundations for the preservation of professional culture, to "revolutionary" reactions to the trends of the contemporary state of fine arts. The natural properties of the "academic school" include its "slowness" in relation to the momentary. In this sense, the "academic school" is fruitfully conservative in relation to the trends coming from outside to synchronize learning with the swiftness of changes in trends and trends in art. The history of the Russian "academic school" officially dates back to 1757. The academy, opened at Moscow University and a year later transferred to St. Petersburg, began to be created one hundred and fifty to one hundred years later than the academies in Italy, France, Germany and almost simultaneously with the academies in London and Madrid. In many ways, the French Academy served as a model for St. Petersburg. Naturally, the Academy of Arts in Russia had predecessors in the matter of state art education - the Armory Chamber, the St. Petersburg Armory Office, the Office of the Buildings, the art "department" of the Academy of Sciences.
But the invitation to Russia of third-rate Western artists-teachers and the small number of Russian retired students could not quickly change the situation on a national scale. Actually, even before the third quarter of the 18th century, the full development of the icon tradition continues, there is a parsuna as an intermediate pictorial form.
Actually, the true structuring of the Academy of Arts does not begin with a decree on its creation, but with the introduction of the Charter of 1764 (“Privilege and Charter of the Imperial Academy of the three most noble arts, painting, sculpture and architecture, with an educational school at this Academy”). Structurally, the academy consists of the Educational School, general and special classes. Children "not older than" five or six years old, of the Greek religion, of any rank, except for serfs, were admitted to the Educational School. The educational school was a kind of general education school with an artistic bias. The time for passing the academic course was determined at fifteen years and divided into five ages, of which the first three ages constituted the Educational School, and the last two constituted the Academy itself. The disadvantage of the system being created should be considered the early age of pupils doomed to an unconscious choice of profession.
Researchers of the history of the Academy note that a new period of its formation is associated with the opening in 1798 of the Drawing School for free-comers of various ranks. Actually, from this period begins a preliminary conscious preparation, which gave birth to a generation of artists who entered the history of Russian art. The ideas that inspired the founders of the Academy I.I. Shuvalov and I.I. Betsky, assigned a significant role to "education" (as a sign above the four portals of the courtyard of the Academy of Arts, they were carved - "Painting", "Sculpture", "Architecture", "Education"), which assumed the development of a large cycle of "sciences".
The beginning of the reign of Alexander I was marked by broad plans for state restructuring, including the management system of culture. The academies proposed to abandon the fixed term of study, making the time for completing the program dependent on the progress achieved in the development of strictly nominated tasks. There was a tendency to transfer the entire general educational load to the Educational School, freeing the older ages for one occupation in a specialty.
The Academy combined training not only in the field of "three most noble arts" - painting, sculpture and architecture, but also inherited from its predecessors the education of artists and craftsmen in other areas, primarily in the arts and crafts direction. Gradually, the Academy specializes, focuses on the "classical" arts, refuses non-core education.
An important component of the "academic school" was the institution of "pensioners", if translated into modern terminology - the system of "postgraduate education". Since the end of the 18th century, retirement has practically become a direct continuation of academic studies for the most gifted students (sometimes up to one third of the total graduation). Retirement contributed to further improvement, trained future teachers, helped to find a job, and sometimes even get an academic title. For a three-year period, a pensioner could complete the program for the Big Gold Medal and, in the case of a high score, received the right to travel abroad.
The reform of 1830 was aimed at turning the Academy of Arts into a purely specialized educational institution.
The anachronism of a narrowly specialized school, the denial of the previous experience of finding a balance between general humanitarian and special educational cycles were overcome by the reform of 1859. For 19 years, when the Academy was a narrowly professional school, well-trained painters, sculptors and architects came out of its walls. All these years there have been disputes between leading artists and educators about the meaning of the liberal arts course. For example, I.K. Aivazovsky had an extremely negative attitude towards the course of general educational disciplines within the walls of the Academy and stood for a narrowly professional school. And he was not alone in his opinion. And yet, the majority of the members of the Council were inclined to restore the teaching of developing general education disciplines. The reform of 1859 not only re-introduced the general education cycle, but restored the primary, originally laid down supreme idea of the Academy, which affirmed the primacy of the training of artists capable of free creativity over the absolutely obligatory craft, in the highest meaning of this concept, training. This dispute only seems simple and past. In fact, each new reorganization of the "academic" school (for example, the modern development of state educational standards) necessarily resolves the issue of the professional relationship between the cycles of general humanities and special disciplines.
The drama of the situation lay in the fact that it was from the walls of the Academy that artists emerged who questioned the merits of the system that formed them. Outwardly, the conflict took shape in the confrontation between the Academy and the Association of Traveling Exhibitions. At the level of ideas, the "Wanderers" and their ideologists asserted the primacy of socially oriented genre painting. . It is quite difficult for an outside observer to understand the nature of the overly ideologized dispute between the “old” Academy and the “Wanderers”. Its acuteness is associated both with the birth of a genuine intelligentsia, which initially does not accept any form of state structure, and with the change of generations in art.
In 1833, for the "education of public taste", the Moscow Art Society was created, which prepared the opening in 1843 of the Moscow Art School.
Classes at the School were limited to art disciplines, anatomy and perspective. Only in the last fourth grade was it necessary to work from nature. There was no special composition course. It was assumed that the average professional, in many respects handicraft, training would be given, and the formation of the artist as a creative person remained the prerogative of the Academy. In addition to general training, the course of study included specialization in portraiture, landscape painting, and later, in historical, and sculpture.
Real pedagogical practice at the Moscow School differed from the approved programs and was based on work from nature. The nature of the training was largely determined by the personal creative and pedagogical experience of the artists invited to teach. The formation of the "Moscow school" is characterized by a stormy methodological controversy. The "Moscow school" is characterized by love for small genres in art, with a cult of nature and with an emphasis on experience, albeit with some damage to academic, Petersburg rationality, firmness of drawing and compositional accuracy. The emerging rivalry with the Academy, which considered itself part of a single European school, made it possible by the end of the 19th century to speak of the Moscow School of Painting, Sculpture and Architecture as a school that embodies the trends of original, national development.
But there are also changes in St. Petersburg. The "Wanderers" came to the Academy in the halo of winners of inertia and with a denial of the methodological experience and methodological ideas accumulated before them. The face of the reform, its distinctive feature was the organization of personal workshops, led by artists known for their work. According to the new teachers (primarily I.E. Repin), who felt themselves to be the leaders of contemporary art, and because of this circumstance, they overly absolutized personal experience, the main attention should have been paid to creative workshops with very different methodological guidelines. Since that time, the corporate desire for a consistent definition of norms and criteria in art pedagogy has been violated. On the other hand, there was an opportunity for a variety of pedagogical experiments.
There was a lot of discussion about what and how to teach. Once again, it should be emphasized that the academic principle of a single teaching normativity was questioned. Professors-supervisors have brought a lot of new and unexpected things to the teaching process. But after a short time, it turned out that most of the innovations are overly copyrighted. Gradually, teaching began to return to the classical traditions. For all the routine of the “old” Academy, few people notice that in many respects the new, liberalized system has drastically changed the final quality of education. The Academy began to produce equal-sized artists.
By 1910, the crisis of the "Wandering" Academy became apparent. For example, A. Benois demanded the expulsion of the "Wanderers" from the Academy and the restoration of canonical education. The Petersburg school, especially after the departure in 1907 of the leader of the reformers, I.E. Repin, gradually began to return to the development of agreed methodological norms.
Already in the tenth years of the twentieth century, a generation came to art schools that denied the school as such.
The changes that took place at the Academy of Arts differed in appearance from the changes at the Moscow School of Painting, Sculpture and Architecture. By the end of the 19th century, the authority of the Moscow School became comparable to the Academy of Arts. The rivalry between the two capitals created tension in Russian culture. Fruitful cooperation-rivalry is also continued by their modern heirs of the two schools - "Repinsky" and "Surikov" academic institutions.
SHKOLYAR LYUDMILA VALENTINOVNA
Doctor of Pedagogical Sciences, Professor, Academician of the Russian Academy of Education, Director of the Federal State Scientific Institution "Institute
art education” RAO; Moscow
Annotation:
The article highlights the current state of Russian education in the field of various types of art, gives a general idea of a new direction of humanitarian knowledge - the pedagogy of art, sets out the principles of artistic didactics (associativity, variability, figurativeness, improvisation). The author highlights the common features of the pedagogy of art, consistently reveals the main existing approaches to the education of the younger generation through art (monoartistic, polyartistic, universal, etc.).
At the World Conference on Art Education in Seoul (May, 2010
year) research was initiated in the field of education through the arts. AT
At present, in Russia, as well as in some other CIS countries,
The concepts of education through art, which are the fundamental basis for
further research in this area. A promising direction within
international cooperation with the UNESCO Office in Moscow, Commonwealth countries
Independent States, Moscow State University of Culture and
Arts is the implementation of a long-term project for the creation and development of "Web-
observatories of art education in the CIS countries. web observatory
is a web portal that primarily provides access to
National information databases on arts education in
participating countries.
Web Observatory involves systematic monitoring of development
art education in Russia, near and far abroad and will
contribute to the promotion of cultural diversity and cultural heritage, more
intensive inclusion of art in the education of children and youth at all levels,
dissemination of innovative approaches in education, and as a result - to increase its
quality.
The UNESCO Roadmap for Arts Education lists a number of
principles of building education in the field of art. Often asked what does
what is the name of the "road map"? I recently heard the term from the Prime Minister
Russian Federation, it concerned the economic sphere. For me, this is a plan, a strategy, an idea, an action.
great daily work, which will lead to a result when artistic
education will actually be one of the most important mechanisms for the transmission of the entire
systems of spiritual values, preservation and reproduction of cultural traditions.
In the theory and practice of modern Russian art education
there was a new direction of humanitarian knowledge - the pedagogy of art. Under
"pedagogy of art" is understood as a creatively developing pedagogy, covering
theory and practice of aesthetic education and art education. Pedagogy
art as an independent area was formed during the XX century by the efforts of
researchers and artists who put forward the humanistic ideas of "education through
art”, “formation of the culture of a creative personality”, “awakening
human in a person”, “introduction to art as a spiritual culture”, etc.
Without denying the importance of general didactics that regulates educational
process, the creators of art pedagogy put forward the following new principles,
principles of artistic didactics:
- associativity, proceeding from the peculiarity inherent in art to generate in
in human consciousness phenomena derived from perceived ideas, images, meanings;
- improvisation as an unexpected and creatively transformative side
organization of the learning process;
- imagery that helps to reveal the phenomena of artistic reality in
their depth and integrity;
- variability as a consistent change in design during implementation
artistic images.
But I want to emphasize that a new direction, the pedagogy of art, is taking shape
based on the development of leading scientific schools: "Theory and practice of artistic
education and development” (A. V. Bakushinsky); "Integrated Learning and
polyartistic education” (B. P. Yusov); "Art as a part of spiritual culture
humanity” (D. B. Kabalevsky, B. M. Nemensky); "Theory of aesthetic education"
(A. I. Burov); “Theatrical education (Yu. I. Rubina, P. M. Ershov) and
film education” (Yu. N. Usov).
Presence in scientific schools of representatives of different directions, having their own
individual creative style, a system of ideas and innovative ideas in connection with
the problem of the formation of the artistic culture of a person as part of his spiritual
culture, allows you to better understand and realize the methodological prerequisites
the formation of schools, expands ideas about the historical roots of certain
phenomena of national culture and art. The common features of pedagogy are highlighted
arts that are developed in the research laboratories of the Institute: these are
conceptual, scientific, artistic.
Conceptuality is expressed, first of all, in the approach to artistic
education as an integral and absolutely obligatory part of spiritual culture
man, when a man's views on art cannot be separated from his views on
a life.
Scientificness lies primarily in the way of considering artistic
and life problems by a method adequate to the nature of human knowledge,
arising from the nature and laws of art. Hence the need
formation of a philosophical level of thinking among schoolchildren.
Artistry manifests itself as an approach dictated by the essence of the
investigated (cognizable) object; as a guiding principle for the selection of content and
methodological foundations of its disclosure; as an organizing principle, manifested in
organic unity of the content and forms of art education.
At the present stage of development of Russian art education
its main approaches are highlighted.
The mono-artistic approach is based on a general and in-depth study
certain types of art (music, visual arts, choreography, etc.)
as part of the compulsory curriculum or in extracurricular artistic activities.
This approach is implemented in the system of general secondary education, music,
art, choreographic schools, institutions of secondary and higher
vocational education.
Polyartistic, that is, holistic, approach to teaching, when the center
process is not the subject of study (music, visual arts, word
etc.), but the child himself, with his inherent polyartistic nature of childhood. Classes in
within the framework of this approach, they assume the harmonious development of a growing person with
using different types of children's creativity - musical, visual,
theatrical, choreographic, etc. This stimulates the development of creative
imagination of children, which is a prerequisite for further learning activities. AT
Currently, this approach is most widely used in preschool institutions.
education and primary school.
The third approach to art education, which is gaining more and more
relevance at the present time, based on the use of art as a method
teaching subjects of the humanities, natural sciences and mathematics
directions. An example of the wide application of this approach is the perception
works of musical and visual arts, reference to the pages
biographies of outstanding domestic and world scientists: physicists, biologists,
physiologists and others who sought support and ground for new thoughts in art,
ideas and experiments.
When studying native and foreign languages, it is actively used
intonation method derived from intonation theory. This theory takes its toll
fundamentals from music, the art of the word and the art of movement, the key of which is
intonation as a carrier of figurative meaning. This approach is innovative in
practice of teachers-innovators, teachers-researchers.
The most promising is the fourth approach to artistic
education, which can be presented as a universal method of the School of the Future.
The essence of the approach lies in the teaching of all subjects in a single
cultural and historical context and on the basis of common patterns and kinship
scientific and artistic knowledge.
In this case, art is not an illustrative series for educational
disciplines not related to art, but becomes a process and a result
comprehension of any phenomenon of culture (spiritual, material) and the nature of this
phenomena that gave rise to physical, chemical, biological, and other laws. And then at
young generation is forming a holistic picture of the world in all its diversity and
unity. This method finds its implementation in the practice of individual
educational institutions of an innovative type, associated with the activation
creativity and general children's giftedness, where in the process of experimental
activity confirms the high efficiency of the idea of its application.
LITERATURE
1. Lazarev M.A. 2013. On the question of the relationship between philosophical and figurative knowledge of the world. - Humanitarian
space. International almanac. 2(4): 666-674.
2. Scientific schools in the pedagogy of art: monograph. Part I. / ed. L.G. Savenkova. - M .: Publishing house
RAO, 2008.
3. Humanitarianization of education in the practice of educational institutions. Collection of articles / Department
formation of the city of Moscow; [ed.-comp. E.A. Ermolinskaya, ed. L.G. Savenkova]. - Moscow: Intellect Center,
2014.
We merge the answers to the goss here.
Please format your questions well, write the wording of the question in full and its number.
GENERAL EDUCATIONAL
Art in the modern socio-cultural educational process. Functions of art and their implementation in art education.
1. Art is a form of creativity, a way of spiritual self-realization of a person through sensual and expressive means (sound, plasticity of the body, pattern, color, light, natural material, etc.). Arising as a result of the creativity of a particular subject, a work of art acquires a transpersonal character. The properties of the content and form of a work of art, as well as the way of its perception, testify not only to the mental originality of the creator, but also characterize the collective forms of experience, the direction of thinking, characteristic of the culture of his era. The peculiarity of the interpretation of works of art is that the meaning inherent in them turns out to be untranslatable into the language of concepts, inexpressible to the end Gmail
by no other means. This confirms the idea of the intrinsic value of art. The paradox lies in the fact that only if art is able to satisfy an artistic need, when it acts not as a means, but as an end. Only by revealing its original original, unique nature, not replaced by any other - moral, religious or scientific activity - art acts as a justification of itself, asserting the necessity of its place in human life. Only by acquiring a goal in itself, art is capable of a deep cultural-creative role - to make up for the inferiority of human existence. Art becomes truly indispensable when, it would seem, it focuses on itself as much as possible. In other words, only through the embodiment of the principles of self-sufficiency of artistic creativity is art capable of realizing itself as a unique activity, significant beyond its own limits.
Art is a means of creative development and personality correction. By its nature, art opposes disorganization and chaos, hence its main tendency is to help a person harmonize both himself and the world, moreover, harmonizing the natural and social in a person. Art is aimed at revealing the creative possibilities of a person, offering a new experience of understanding the world, striving to provoke, awaken everyday consciousness. Thanks to art, a person expands his own experience and joins the experience of all mankind. Within the framework of social experience, art allows a person to find himself as an exceptional individuality, having passed through self-tests, spiritual and moral self-examination. Art as a special unique image of human self-realization acts as a form of personality development. Art significantly raises the level of a person's self-awareness, outlines his vision of the world and moral choice, which contributes to the spiritual, creative, moral development of the individual. Art provides our consciousness with an artistic image freely, non-violently.
It teaches truth and goodness through beauty and beauty through truth and goodness.
The purpose of art is a deep disclosure and artistic reflection of the inner world of a person, as a result of which his moral and aesthetic improvement is carried out.
Art is a specific form of social consciousness and human activity, which is a reflection of reality in artistic images, one of the most important ways of aesthetic exploration of the world. Art is an indirect reflection of reality with the help of a specific language. The whole world is a subject of art. Social life and nature, any events and phenomena, the most complex subjective experiences of a person constitute the real content of works of art. Art is a reflection of reality, a reflection that more or less objectively and fully reproduces the essence, content, qualities and properties of reality itself.
Art Functions:
- Communicative (art as communication). On the communicative nature of art, its modern consideration as a sign system is based. Art has its own conventions. Many types of art (music, painting, dance) do not require translation into other languages for their understanding. Art brings people together, allows them to get to know each other better (cultural exchange between countries).
- aesthetic(art as the formation of a creative spirit and value orientations). Art forms the artistic taste, abilities and needs of a person, awakens his creativity.
- Cognitive and educational(art as knowledge and enlightenment) The cognitive possibilities of art are enormous, they cannot be replaced by other spheres of human spiritual life. One can learn more about the life of a particular society from historical novels than from the writings of all historians, economists, and statisticians combined. The formula of water is H2O, but the concrete-sensual richness and hundreds of properties of water remain beyond the scope of scientific generalization, but they can be perfectly expressed in a work of art. The role of art in the knowledge of the spiritual world of man is especially great. It penetrates into the very depths of personality psychology, reveals the most complex interaction of thoughts, feelings, will, reveals the sources and motives of people's actions and deeds. The language of art is clearer, more metaphorical, more flexible, allegorical, paradoxical, emotionally and aesthetically richer than natural, spoken language, therefore the informative possibilities of artistic language are wider and qualitatively higher. Musical and artistic works, like any cultural phenomenon, can be perceived as documents of an era. They can be informative in various perspectives: historical and factual, philosophical and ideological, ethical and emotional, etc.
- Socially transforming(art as an activity). The socially transforming function of art is manifested in the fact that, having an ideological and aesthetic impact on people, it includes them in a directed and holistically oriented activity to transform society. Art is the creation of artistic reality and the transformation of the real world in accordance with the ideals of the artist. Art transforms reality:
Through the ideological and aesthetic impact on people. The type of artistic consciousness of the era, the ideals of art and the type of personality are interdependent. Ancient Greek art shaped the character of the Greek and his attitude to the world, Renaissance art liberated a person from the dogmas of the Middle Ages.
Through the inclusion of a person in a value-oriented activity. Art awakens sensitivity to violations of social harmony, stimulates the social activity of the individual, orients him to bring the world in line with the ideal. Thus, the enslaved Icelandic people created sagas in which freedom-loving and courageous heroes-heroes lived and acted. In the sagas, the people spiritually realized their thoughts about freedom and independence. The dreams of the people about liberation from the power of the Tatar-Mongol yoke are reflected in Russian epics.
Through the transformation in the process of artistic creativity with the help of imagination of impressions from reality (the author recycles life material, building a new reality - the artistic world)
- Personally transformative- the ability of art to influence and qualitatively change the psychological and characterological structure of the personality.
- Compensatory(art as consolation). Perceiving a work of art, people discharge the internal tension and excitement generated by real life, and at least partially compensate for the monotony of everyday life. Compensatory function has three main aspects:
Distracting (hedonistic-playful and entertaining);
Comforting;
Contributing to the spiritual harmony of a person (actually compensatory).
The life of a modern person is full of conflict situations, tension, overload, unfulfilled hopes, sorrows. Art is able to console a person, take him into the world of dreams. With its harmony, it gives a person balance, sometimes helping him to stay on the edge of the abyss, gives him the opportunity to live on.
- Educational(art as catharsis). Art forms a holistic personality. The impact of art has nothing to do with didactic moralizing, it manifests itself subconsciously. The Aristotelian theory of catharsis is that by showing heroes who have gone through severe trials, art makes people empathize with them and thus, as it were, purifies the inner world of viewers and readers. A person is enriched by the experience of other people and develops his own value attitudes faster and better.
- hedonistic(art as pleasure). Aesthetic pleasure has a special spiritual character, and even the ancient Greeks distinguished it from carnal pleasures. Artistic creativity gives people the joy of comprehending beauty and artistic truth. Also, rightfully belonging to art, one can single out functions: inspiring, informational, analyzing, anticipating.
- Psychotherapeutic. It acquires special significance when a society or a particular person is experiencing a painful crisis. Because art can immerse a person in a state in which he will experience catharsis. Even Aristotle spoke about catharsis, calling this word the experiences of the audience in the ancient theater. They seemed to throw out their visible or invisible tears, visible or invisible suffering, empathizing with the heroes of ancient performances. One of the tasks of art therapy is to bring pathology back to normal. For example, to transform an inferiority complex or a superiority complex into a humanistic social feeling (every day, at least mentally, do something pleasant for the largest number of people). L. Tolstoy saw one of the most important tasks of art in helping people fall in love with life.
- Canonical and heuristic function is considered by musicologists as a dialectical pair of opposites, which allows us to consider the musical phenomenon from the standpoint of the relationship between tradition and innovation.
The possibilities of art in the correction of mental processes in children were pointed out by foreign (O. Dekroli) and domestic (L.S. Vygotsky) representatives of pedagogy and psychology. Art is an important means of education that affects the morality of the child, as well as the formation of his thinking, imagination, emotions and feelings. The process of perceiving art by children is a complex mental activity that combines cognitive and emotional aspects. Classes in artistic activities contribute to the sensory development of children, the ability to distinguish colors, shapes, sounds, provides an understanding of the language of various types of art. Especially valuable is the positive impact of art on children with developmental problems. Even L.S. Vygotsky in his research revealed the special role of artistic activity in the development of not only mental functions, but also in the activation of creative manifestations in various types of art in children with developmental problems. Art develops personality, broadens the general and artistic horizons, realizes the cognitive interests of children. Art allows the child to experience the world in all its richness and diversity, and through artistic activities to learn how to transform it. It is in this that the corrective possibilities of art are contained, since. it is, on the one hand, a source of new positive experiences for the child, gives rise to creative needs, ways to satisfy them in one form or another of art, and, on the other hand, a means of realizing the socio-pedagogical function of art.
Speaking about the pedagogical possibilities of art, one cannot fail to note one more important aspect: the psychotherapeutic impact of art on the child. Influencing the emotional sphere, art at the same time performs communicative, regulatory, cathartic functions. The joint participation of the child, his peers and teachers in the process of creating a work of art expands his social experience, teaches adequate interaction and communication in joint activities, and ensures the correction of violations of the communicative sphere. The psycho-correctional effect of the impact of art on a child is also expressed in the effect of “cleansing” from accumulated negative experiences and entering the path of new relationships with the outside world. Revealing the psychological mechanism of catharsis in his work "Psychology of Art", L.S. Vygotsky noted: “Art always carries something that overcomes ordinary feeling. Pain and excitement, when they are caused by art, carry something more than ordinary pain and excitement. The processing of feelings in art consists in turning them into their opposite, i.e. positive emotion that art carries in itself. Art provides the child with practically unlimited opportunities for self-improvement and self-realization both in the process of creativity and in its products. Modern special psychology and pedagogy are largely focused on the use of various types of art in correctional work as an important means of educating a harmonious personality of a child, his cultural development. The main task of the art cycle classes at school is to awaken students' interest in art, to teach them to feel, understand, love and appreciate art, enjoy it; emotionally positively perceive, experiencing the need for systematic communication with her.
