The creative team as an organized group of workers has a number of distinctive features:
· The creativity of the entire team directly depends on the activity and success of the creative activity of each participant;
· Dualism of the creative team, which consists in the fact that creativity requires individualization, while the team cultivates unity;
· The leader of a creative team combines the functions of a formal and informal leader.
The leader is an active, creative person. He is the organizer Everyday life participants. Only a person with a developed will can awaken interests and lead participants, where personal activity plays a decisive role. Leadership of a creative team obliges the leader to be inventive, quick-witted, persistent, ready to independently resolve any situations. The professional qualities of a leader are self-control and self-control.
Traditionally, the management process is divided into five stages: planning, organization, people management, motivation and control. In accordance with this division, it is possible to determine the main functions of management activities:
1. strategic (planning);
2. administrative (organization);
3. communicative and regulatory;
4. motivational;
5. controlling.
However, based on the specifics of the activities of the head of the creative team, they distinguish following functions:
· Humanistic;
· Communicative;
· Informational;
· Training.
The humanistic function of the head of a creative team carries universal human values into the creative process, creates conditions for the development of human abilities and talents, serves to strengthen cooperation, equality, justice, humanity in joint activities.
The implementation of the humanistic function unites the opposite, but closely related processes of socialization and individualization of the individual. Gaining experience of social relations in leisure activities and communication occurs at the individual level, when the norms, rules of social life become personal qualities.
The communicative function of the leader meets his primary need for communication with participants, colleagues, school teachers, representatives of the industrial sphere, especially since the work process in cultural institutions is constant interaction, the exchange of information between interested participants.
The training function is implemented in the activities of the head, aimed at mastering the participant certain system knowledge, abilities, skills, social experience, for the development of his intellect and abilities. The successful implementation of the training function is due to a number of factors: the level vocational training leader, including special, didactic, technological and methodological training; the level of readiness of students to master knowledge, skills, abilities; the availability of an appropriate material and technical base for training; the availability of sufficient time (terms of study); individual psychological characteristics of trainers and students, etc. A learning collective is a group of workers that contributes to the training of all its members and itself is continuously transformed as a whole.
Methods for the development of independence, activity of creative professions are called problem-heuristic methods. It proceeds from the recognition of several levels of independence and activity, and the specifics of organizing work in sequential switching to higher levels.
1st level. The leader himself formulates and solves the problem. The employee remembers the wording and the course of the decision.
2nd level. The manager sets a task or problem, formulates conditions, introduces all possible solutions and suggests choosing the most effective ones.
Level 3. The leader only indicates a problem or task. Employees are encouraged to comprehensively investigate and resolve.
4th level. The participant is given the task to see the problem for himself, formulate it and solve it.
Speaking about the development of creative activity, the issue of the motives of activity should be emphasized. Participants are most active in those cases when classes and tasks to be solved are not only interesting or curious, but also valuable for other people and society.
The social and organizational and managerial tasks facing the leaders of creative teams today require new approaches to the management of creative and organizational processes, the use of more flexible and managerial technologies. One of the most effective management methods is the leadership style.
Leadership style is a method, a system of methods of influencing a leader on subordinates. One of the most important factors for the effective work of the organization, full implementation potential opportunities workers and team. Most researchers identify the following leadership styles:
* Democratic style (collegiate);
* Liberal style (conniving or anarchic).
The directive style of management is characterized by a high centralization of leadership, the dominance of one-man management. The manager requires that all cases be reported to him, alone makes decisions or cancels them. The predominant management methods are orders, punishments, remarks, reprimands, deprivation of various benefits. Very strict control, detailed, often depriving subordinates of initiative. The interests of the case are put much higher than the interests of people; harshness and rudeness prevail in communication. The authoritarian style of leadership has a negative impact on the moral and psychological climate, leads to a significant decrease in initiative, self-control and responsibility of employees. The advantage of this management style is the ability to respond quickly in a critical situation.
The democratic management style is characterized by the distribution of powers, initiative and responsibility between the leader and deputies, the leader and subordinates. The leader of the democratic style is interested in the opinion of the team on important production issues, makes collegial decisions. The members of the team are regularly and timely informed on issues of importance to them. Communication with subordinates takes place in the form of requests, wishes, recommendations, advice, rewards for high-quality and efficient work, kindly and politely; orders are applied as needed. The leader stimulates a favorable psychological climate in the team, defends the interests of subordinates.
The liberal management style is characterized by the lack of active participation of the leader in the management of the team. Such a leader is waiting for instructions from top management or falls under the influence of the team. He prefers not to take risks, to postpone the resolution of urgent conflicts, seeks to reduce his personal responsibility. He lets the work take its course, rarely supervises it. This leadership style is preferable in creative teams, where employees are distinguished by independence and creative individuality.
So, the creative group has its own characteristics that cannot be ignored. It should be remembered that the team leader is the person who leads the team. Management activities creative people is specific, therefore it includes a number of additional functions (humanistic, communicative, informational, educational). For a leader, it is especially valuable to choose an appropriate team management style. One way or another, to the greatest extent in the leadership profession personal growth- an indispensable condition for achieving professionalism.
THESIS
On the topic: Managing creative processes inPR-dactivities
Content
Introduction
Chapter 1
1.1 Creativity. Creative groups. Performance assessment1.2 Effective personnel management
1.3 Cohesion of the management team
1.4 Teamwork
1.5 Shared decision making
1.6 The Need for Creative Teams
Chapter 2
2.1 Creative and heuristic management
2.2 Creative management. Creative decision-making
Chapter 3
3.1 Creative approach to PR
3.2 Algorithm of the creative process
3.3 Open-minded techniques
3.4 Technique of the nominal group
3.5 Is a creative approach to PR a whim or a necessity?
3.6 Evaluation of relationships in PR activities
Conclusion
Bibliography
Vconducting
Relevance of the research topic.
In the modern world, collective creativity is becoming increasingly important as a manifestation of activity, creation of something new, generation of ideas and stimulus for activity. Political, legislative, economic, scientific, artistic, social, everyday, etc. creativity turns into important factor social development, contributes to the realization of the potential of the individual and societies of various levels.
Created in all spheres of social life, creative teams acquire a leading importance, since within the framework of organized collective activity, the solution of creative, social and economic problems is more efficient, faster and more fruitful than individually.
Any collective activity requires effective management, and, consequently, deep theoretical comprehension, search for patterns of this process and actualization in the activities of modern creative teams.
This is especially important in modern Russian conditions, when the processes of social transformations, political, legal, economic and, in general, are still far from complete. social relations are not regulated by generally valid value-normative standards and patterns of behavior, and the socio-cultural space is characterized by moral and value uncertainty.
In many sectors of the national economy, the consequences of economic decline persist, the institutions of culture, education and science function in an inadequate for their development social environment, in which market relations are at the mercy of spontaneous forces, efficiency is assessed only from the point of view of profitability, consumption is subordinated to the priority of material goods.
Russian creative teams operate in conditions of legal, economic and organizational uncertainty. Effective management requires taking into account the specifics of creative teams, the characteristics of the external environment, and, most importantly, it presupposes a social orientation management activities, which means the need to reconcile the interests of creative teams with the interests of society, the state and other subjects of public life.
Thus, the management of the activities of creative teams is an urgent, theoretically and practically significant task, which is due to:
* low level of theoretical elaboration of the problem;
* inefficiency of real management relations;
* the need to develop scientifically based recommendations to improve the social efficiency of managing the activities of creative teams.
The degree of scientific elaboration of the problem. The sociological analysis of the management of the activities of creative teams in the scientific literature has not yet received proper coverage. Therefore, the study of this issue required referring to sources that reveal various aspects of the area under study.
General theoretical questions of creativity, its role and place in public life, the impact on the spiritual, cultural, scientific, social, political, economic, labor spheres of public life have been investigated in the works of ancient and modern, foreign and domestic philosophers and sociologists: A. Bergson, N. A. Berdyaev, I. Kant, Plato, Z. Freud, F. Engels, K. Jung and others.
M. Weber, V.V. Davydov, E. Durkheim, K. Marx, A. Maslow, V.A. Sukhomlinsky.
The object of research is creative, social, socio-psychological and, as a consequence, economic results of effective management of creative processes in pr-activity.
The subject of the research is the search and analysis of ways to improve the results of pr-activities as a result of increased attention to the work of creative teams.
The purpose of the study is to identify the features and degree of social efficiency of managing the activities of creative teams in modern Russia.
Research objectives:
* define the content and structure of creative teams as organized social group;
* to substantiate the theoretical and methodological foundations of the sociological analysis of the management of the activities of creative teams;
* determine the features of managing the activities of creative teams;
* to reveal the specifics of the activities of creative teams in modern Russia;
* identify the social and organizational problems of managing the activities of creative teams in modern Russia;
* assess the degree of social efficiency of management and social prospects for the development of the industry in modern Russian society;
* to develop scientific and practical recommendations for improving the organization and management of the activities of creative teams, taking into account the needs and interests of members of creative teams and the main consumers of their products.
Chapter 1
1.1 Creation. Creative groups. Performance assessment
How to evaluate the effectiveness of a creative employee, to note the merits and achievements; identify weaknesses for professional development, additional motivation for self-improvement; build an efficiency rating for a potential change of state in the direction of strengthening; build a "feedback" relationship with the employee for a generalized assessment of the quality of work; assess the situation in the team. As well as evaluating creative employees and getting information not so much about personal and psychological characteristics as about their professional competencies. Competencies are a set of knowledge, skills and abilities that are manifested in behavior and ensure the success of a designer in a given professional position.
You can also talk about two of its components: labor assessment and personnel assessment. Evaluation of labor is aimed at comparing the content, quality and volume of actual labor with the planned result of labor presented in the plans and programs of the work of the creative department and the firm as a whole. Assessment of labor makes it possible to understand the quantity, quality and intensity of labor. Personnel assessment makes it possible to study the degree of preparedness of an employee to perform a creative type of activity, as well as to identify the level of his potential opportunities for assessing growth prospects and assigning more complex creative and creative directions. Everything can be calculated, including the professional potential of employees. The assessment procedures in the proposed scheme are just created in order to reflect the knowledge, skills and abilities of creative workers in specific figures.
The creative department is a group of people working on projects that require a creative solution to a problem. It doesn't matter what area the creators and supporting departments work in. The creative team has the same principles of work, both in the printing industry and in interior design, in outdoor advertising, etc. For the development of the structure of the organization and methods of managing the creative team, the specificity of the company affects 10-15%, the rest of the requirements are identical.
The main advantage of the creative team, in addition to the delivery of the material on time, is the proposal for a creative solution. All heads of creative teams try to understand the mechanisms of creativity and how targeted personnel policy affects the economic effect of the company. What is the reason for the high creative activity? How to stimulate staff productivity, work quality and “idea generation”? What lies behind effective communication and high responsibility of the company's employees?
The creative worker is key to organizational structure... TO characteristic features a creative employee includes the ability to actively participate in the creation of creative concepts, to act correctly in conditions of uncertainty and increased risk, to find non-standard solutions to problems, to ensure high productivity. But the question of what is the “critical mass” of creative employees remains very difficult for a creative group to be considered creative. All people are different. Some professionals work well in the early stages of a project - in a high-risk area. Others work much better when everything is defined, when there is a clearer organization of the creative process. Both are needed. That is, we need both "idea generators" and those who effectively implement these ideas.
The head of a creative department or group. A key figure in creative management. This is, as a rule, an energetic leader who supports and promotes new ideas, perhaps his own, who is not afraid of increased risk and uncertainty, is able to actively search for non-standard solutions and overcome difficulties in their implementation. Leadership and leadership are becoming the keys to competitive advantage. This is what makes it stand out from the crowd. How it engages, retains and motivates employees is more important than technology. How he manages the department, and how he directs the actions of people, as their leader, will determine the difference between the creative group. This will ensure uniqueness. Such a leader is also characterized by specific personality traits: intuition, dedication to ideas, initiative, the ability to take risks and overcome formal barriers. The Creative Leader is the leader of the New Concept Team. It is located at the nodal points of communication networks, accumulates and transfers specialized information. Accumulates and disseminates the latest knowledge and best practices. Nourishes creative search with information at different stages of the development of creative solutions
One of the main tasks of the management of creative teams is to overcome the technocratic forms of the division of labor, to introduce innovative parameters into the distribution labor functions, the expansion of delegation of authority at the micro level. As well as the spread of group forms of work, the development of a system of formal and informal communications in the company, the transformation of the content of management work, where traditional administration gives way to professional leadership.
1.2 Effective personnel management
creative team management
"There is safety in numbers". Especially in the field of innovation reform. Each director wants to see a close-knit team of like-minded people next to him, working in a well-coordinated and coordinated manner. How to create such a team? What to do when there is a common understanding of goals and objectives, but coordinated work does not work out?
"Like-minded people" are people who think in the same way, that is, they have the same idea of the goal of their work, its stages and tasks, look at the same means of achieving these goals, share similar values and have an approximately similar worldview.
The unity of views on production goals and objectives seems obvious at first glance ("if we work together, then we know why we are doing it"). However, practice shows that 30 team members will name approximately 15 different goals instead of 5-6, that is, the unity in this case looks very relative.
1.3 Rallyingmanagerialcommands
For the emergence of a small number (5-6 strategic and slightly more tactical) shared by all goals, it is necessary to use the practice of collective development of goals, discuss with members of your team possible options development of the enterprise and agree on deadlines. It is also useful for a manager to ask how real the goals and deadlines seem to subordinates, what the result is, what fears worry people (there will not be enough material resources, knowledge, teamwork, too much depends on external factors), what difficulties may be encountered on the way and what measures can be used to compensate them. All these issues require regular identification and discussion at meetings, and only after that we can talk about a common vision of the company's goals.
We will get an even wider range of opinions regarding personal goals, which are naturally present in the process of joint activities and require their satisfaction. Traditionally, three large groups of human needs are distinguished and goals are correlated with them:
· Material (needs for survival and security, stability and reliability in life). Appropriate goals: material well-being, fair wage, confidence in the future, not to be afraid of rivals, educate children, provide old age, get an apartment, etc.
· The need for unity, community, in this case, belonging to an organization, as well as honor and respect. Goals that correspond to them: to work in a team in a collegial atmosphere, to communicate with people, to receive recognition from colleagues, leaders, to have a growth perspective, to make a career, to be needed by people, etc.
· The need for self-expression (for independence in the workplace, for self-affirmation, for self-expression through work, for training). Goals that correspond to them: the ability to make important decisions at your workplace, personal responsibility for the assigned task, achieving success, having your own face, your own "I", getting job satisfaction, participating in creative problem-solving groups, improving your qualifications and educational level, and etc.
Each person has an individual set of goals, which must be taken into account, in particular, when introducing a contract system (for example, part of the salary to subsidize children for education, entrust work from the result, but with free schedule visits, conclude an open-ended contract, abandon the system probationary periods if it causes too much stress for workers, etc.).
1.4 Teamwork
Each team also has a specific picture of the most common goals, which determines the mindset of its members, the so-called "team spirit". The leader should know this in order to determine the time sequence for the introduction of innovations, to speak with people "in their language", that is, in the language of goals that are meaningful to them. For example, in an enterprise where reliability and fair wages are the most important, and the desire for independence, personal responsibility and creativity is expressed only by a few, when carrying out innovations, one should start with the introduction of a new system of remuneration from the result, and delegate authority gradually as soon as it is ready. staff. In another team suffering from rapid growth disease, the very first step should be the introduction of a flexible management system (creation of temporary creative problem-solving teams), which provides opportunities for immediate manifestation of initiative and creativity, and then develop a new organizational structure and delegate authority ...
The need to reconcile ideas about the means to achieve the goals set arises when the team is considering non-traditional ways of financial and commercial activities. Selling or renting out a plant management building, playing on the stock exchange, or organizing a lottery can cause psychological shock among workers and a complete rejection of the policy of innovation. Even such simple thing how the replacement of old computers with personal computers causes latent resistance. Someone is afraid to lose their power, to remain unclaimed, not to cope with the assigned task, to seem incompetent, backward, for someone it is difficult for retraining and he is insecure.
In this case, the main argument of the manager is the profitability of projects, their economic feasibility. It is necessary to present these calculations in an easy-to-understand form, as well as discuss the concerns that the team members have and explain what benefits each of those present will receive specifically (percentage of increased profits, from saving resources, reducing costs, etc.)
If the tasks set are frightening in their volume, seem impossible, then you can cope with this using a simple method of breaking down goals: we divide large goals into small ones, small goals into insignificant ones. A performer is assigned to each goal, deadlines are assigned - and you can start implementation, as they say, "from Monday."
It is convenient to present the values shared by all team members in the form of slogans, short, clear, sometimes paradoxical. There can be several slogans - for the outside world and for yourself. For the outside world, the slogan of a company expresses the mission that it performs (what we give to the consumer). It can be part of the advertising image, enter the advertising brochures, and also become the basis of the client orientation of the company.
The slogan "for internal use" does not have to be known outside the enterprise, but everyone inside the enterprise should know it. It expresses the essence of relations within the team, attitude to work, meets the basic interests of people.
Here are a few slogans that were born in Russian enterprises:
"Survive and learn to live well."
"I decide as a proprietor - I do as a proprietor."
"We don’t need money - let's work"
"Before you think - count!"
"Let's preserve ours, preserve - we increase"
1.5
Joint decision making
When "like-mindedness" or, in the language of modern Western management, the philosophy of the team and the enterprise as a whole has been formed, it is time to define the rules by which interaction takes place within the team. These are the norms of acceptance and implementation management decisions as well as accepted patterns of behavior. Among them: authoritarian or collegial decision-making, constant control of the first person or delegation of authority, remuneration, system of remuneration and fines, principles of control by results. Some of these rules are of an official declared nature, while others are not understood by those who "play" according to them.
There are several fairly common harmful rules:
· "Do not stick your head out",
· "initiative is punishable",
· "Who is lucky - they ride on that one",
· "The boss is always right",
· "All the same, nothing can be changed."
The rules can contain contradictions, leading to constantly recurring problems in the team. For example, a leader is chosen on the basis of his authority, and they require him to be able to organize and maintain communications, productive communication, and facilitate the emergence of free discussions. It is clear that not every authoritative person possesses such qualities, and the collective is constantly "shaking" from expressions of mistrust and re-elections. In another case, team members believe that conflicts interfere with work and should be minimized, but at the same time insist on open and honest communication, which is impossible without accepting conflict as a form of productive problem solving.
For the most part, team members do not think about the existence of such unspoken prescriptions, they consider them to be something objective or come from the past (70-90% of the team members we surveyed at Russian enterprises believe that the source of these rules lies outside them, 10-25% - that they themselves create the rules).
The main task when working with unspoken rules is to identify them (by interviewing members of their teams), thereby making them accessible to the minds of people "playing" by them, and to propose to build a model of the organization that meets their desires.
To the question: "What qualities should the organization in which you would like to work have?" - the majority of the surveyed team members, as a rule, answer that the organization should be: stable (it should constantly support its members, providing them with greater stability, but be flexible in relation to outside world, all the time to adapt to his needs); fair, that is, open (to have the same rules for everyone, to make it possible to get any information) and clear (the rules must be strictly followed by everyone); close-knit (so that everyone is united by a team spirit, a spirit of partnership, and to belong to it it would be honorable) developing (giving the opportunity to grow and develop creatively for its members).
It is very important for the team to have confidence that they themselves are the creator of their organization, and this active optimistic attitude will be reflected in all spheres of enterprise life, including production. "The rules of the game" is the most underdeveloped area on most Russian enterprises... Working with them is further complicated by the fact that team members consider these rules to be part of themselves, and remaking yourself is one of the most difficult things to do.
The next step is to consolidate the organizational model adopted by all team members in the organizational structure. It is necessary to determine the principles of the organizational structure, coordinate the actions of individual participants and departments, distribute roles and responsibilities, which are enshrined in job descriptions.
1.6
The need for creative teams
For greater dynamism of the organization, it is recommended to use a flexible personnel management system focused on solving specific problems. The structural units in this system are creative groups created to solve a specific problem and existing until this problem is solved. After that, the creative team is disbanded, and its members participate in work on other projects as part of new creative teams.
The conditions for the creation of such groups are: a clear formulation of the main tasks for each competent employee, the boundaries of his personal responsibility, the conditions for replacing him with other employees; the coordination of goals separately with each employee (through the team leader, individual goals, terms and degree of personal responsibility, main duties and terms of replacement are agreed. ) the impossibility of setting a goal without specifying the deadline for its implementation, its detailed description and indication of the scale (quantitative descriptions), the impossibility of setting a goal without indicating the degree of personal responsibility.
Creative teams are endowed with the highest degree of personal responsibility and self-government. It is very important that, along with the assignments, authority is delegated to resolve all issues related to this assignment. This largely frees the head of the enterprise from solving current affairs and makes it possible to focus on strategically important areas of activity.
A flexible management system presupposes a very high degree of democracy. The head of a department can be subordinate to one of his assistants if the company is engaged in a project in which the assistant is more competent.
In creative groups, an employee can be distinguished not by his position, but by the scale of achieving the goal, the degree of personal responsibility, the ability to work in a team, a positive assessment of the manager, and the disposition of clients to the employee. Accordingly, the employee's remuneration is determined according to these parameters. In this work, the principle of writing is very important. Philosophy (why we are doing this), goals, strategy, "rules of the game", projects, protocols are fixed. The advantage is great commitment, openness, transparency, unambiguity, clarity, great possibilities of control and transmission over links, visibility. In general, the elaboration of all three components of the organizational culture of the enterprise - philosophy, rules of interaction and structure - activates the internal reserves of personnel and creates great potential for the introduction of innovations.
Chapter2
2.1
Creative and heuristic management
Both creative and heuristic management are closely related to innovative management, on the essence of which there is no point in dwelling here, since we have already made an attempt of this kind. I will only note that innovation management operates with an intellectual product as a whole and indivisible object. In contrast, both creative and heuristic management view this product as a complex structural entity. Accordingly, the associated management of the creation of a new system of knowledge, skills and abilities should be divided in a certain way into a number of constituent elements, each of which is subject to research and comprehension in order to implement competent practical actions. It can be said in a somewhat simpler way: innovative management, on the one hand, creative and heuristic, on the other, have the same object of consideration, but they study it in one case (innovative) from the outside, as ready-made, in the other (creative and heuristic management ) - from the inside, as a passing process of creation.
Further, it is necessary to distinguish between creative and heuristic management. Creative (from the English "creative") is literally "creative, constructive". It, in principle, concerns the problems of team management, moreover, those that relate to subject areas that do not lend themselves to clear formalization and are subject to mobile, "drifting" criteria for goal-setting. The difference between heuristic (from the Greek heuristro, literally “looking for, discovering”) management from creative is that it “is in charge” of personal management and self-management - under the same conditions of the absence of a priori existing certainty that characterize creative management. The latter "works" where the created intellectual product cannot be unambiguously attributed to an individual person, but is certainly the result of the activities of the collective. Heuristic management, on the contrary, is associated with individual goal-setting and management of the activity of the individual as a decisive participant in the creation of an intellectual product.
The remarks made, of course, are of a very general nature, but they seem to be sufficient for the very first idea of the subject under consideration. Now about why, in fact, consider it, what is the use of such an occupation - far, by the way, not easy and not simple?
It is necessary to deal with the problems of creative and heuristic management already because it is absolutely necessary to strive to improve the quality of managerial decisions and their intensification at all levels - from the state to the individual workplace. And there is no reason to postpone this difficult work, as it is sometimes believed, “for later”: they say, it’s not up to that now, we would somehow get the country out of the crisis. In fact, one of the essential reasons for the crisis itself, and the fact that the process of getting out of it turned out to be so protracted and painful, is precisely the unacceptably low quality of managerial decisions made (and taken) impulsively, improvisationally, without any serious elaboration from the standpoint of modern management. The fact that the latter is established in his real rights, and improvisational amateur performance in this area is overcome - and, very briefly speaking, is the usefulness of the lesson we are talking about here.
In order to succeed in such a matter, of course, a lot is required. It is worth starting with the fact that it is necessary to define and introduce new, better scientifically substantiated and psychologically improved methods of preparing initial information for decision-makers (DM). Such methods are intended to provide creative management. The particular difficulty of solving this problem lies in the fact that, on the one hand, it is necessary to process a huge array of initial information (at present, in any subject area, it has been accumulated in volumes that would have recently seemed fantastic), on the other hand, to take into account the specifics of the decision maker and character their activities: after all, each of them, like all people, has certain character, skills, stereotypes, and all this must be kept in sight, offering the initial information for decision-making. At the same time, it should be the result of mobilizing all the reserves of persons involved in the process, based on the full use of their creative potential, including its deepest layers, especially if we mean large decisions of a global strategic scale. Methods and forms of identifying and better using the potential of a person participating in the process of creating an intellectual product is the sphere of heuristic management. Improving the management of the creative potential of the individual and the team presupposes the solution of a number of problems in modern conditions. I will name some of them that seem to be the most important.
First, it is the development (increase) of creativity. The pedagogical literature has repeatedly declared the transition from the reproductive system of education to the creative one (it is also sometimes called problem, target, etc.). In the center here is the "penetration" of the entire system of lifelong education with a line aimed at strengthening the ability to make non-trivial decisions (individual and collective). But this cannot be achieved without proper management. The introduction of creative and heuristic management into the educational process radicalizes the entire process of mastering knowledge, abilities and skills, since, thanks to the use of a qualitatively different methodological apparatus, it raises the creative potential to a higher level. Experience shows that the use of creative heuristic techniques in scientific and technical creativity can increase the efficiency of scientific and engineering teams several times. However, this rich experience is now almost never used to improve managerial decision-making in the economic and organizational spheres. This situation is not difficult to explain: we are talking about objects of analysis that are more complex than technical systems. But the explanation of the deficiency, of course, does not provide for its elimination.
Secondly, it is necessary to strive for the emancipation of the individual - both in the isolated functioning of the individual, and in the participation of the latter in the activities of the collective. Here, the problems rest primarily on modern system education of the personality - alas, actually aimed at suppressing originality, originality, eccentricity. In this regard, creative and heuristic management should be counted on as a guideline and, at the same time, if I may say so, on a solid anchor in the fight against uniformity, “stampedness,” and mediocrity. A person who owns the methods of these types of management, according to certain rules, monitors his thinking in such a way as to achieve the adequacy of the use of the existing creative potential for the put forward target settings.
Thirdly, this refers to the achievement of optimization of efforts and resource investments directed at improving the methodological apparatus of the activities of specialists. In this regard, it is legitimate to note that the crisis that has erupted in Russia is to a very large extent associated with the lack of an effective methodological apparatus that allows tracking and predicting the functioning of systems in transitional (critical, extreme, crisis) periods. The methodological apparatus that was at the disposal of today's specialists was suitable (and even then not without reservations) for the implementation of actions in stable and quasi-stable conditions; a significant deviation from them throws the situation into the space of intellectual virgin soil. True, in the very Lately developments focused on anti-crisis management began to appear (for example, the Anti-Crisis Management program of the Academy of Management and the Market, intended for retraining specialists within the framework of the Morozov project). However, there is hardly any reason to assert that we have already done more in this area than the very first steps. Further progress, undoubtedly, has one of the conditions for the development of creative and heuristic management, which is still in our initial phase.
When we once again repeat the well-known position, according to which the emergence and establishment of new areas of scientific knowledge and types of activity is a complex and difficult process, in my opinion, the question of the conceptual basis of a new discipline is always at the “closest approaches”. Without such a foundation new science can neither take a firm place, nor develop sufficiently successfully in the future. At the same time, it would be a mistake to believe that the entire conceptual apparatus of a new scientific direction should suddenly be created from scratch. In fact, the new direction has both "parents" and "relatives"; moreover, there are usually an abundance of applicants for these roles. But once they find themselves in a new “family,” they not only somehow form it, but themselves, in one way or another, are modified under its influence. At the same time, of course, this "family" gives life to its own "children", implements and masters only its inherent concepts. In them, as in some of the initial starting points, I would mainly like to understand this publication, because considering the range of practical issues of creative and heuristic management, firstly, requires much more extensive work than this article, and secondly, not may turn out to be productive without achieving certainty in the conceptual apparatus, in terminology, in the starting methodological premises.
The area we are talking about here, as already noted, is inextricably linked with innovation management. For some time it seemed to his “pioneers” that he was quite capable of solving the difficult task of ensuring the harmonized development of science, production and social processes in the conditions of the scientific and technological revolution. But it was quickly discovered that such hopes were overly optimistic. The further course of development showed that behind the filled, it was, there is another niche, and deeper and more difficult to pass, replete with labyrinths with unpredictable turns. This niche is formed in connection with the appeal to human creativity, to the potential of his abilities, which in these conditions can be realized. Perhaps the first to realize this most fully was A.I. Prigogine, who intuitively divided the areas of innovative and creative (heuristic) management. This division became the starting point for the study of the subject of this article, and gradually the understanding of creative and heuristic management, which was proposed above, was formed (although, of course, it cannot be considered exhaustive and complete). In any case, approximately such a view of these types of management can be considered as entrenched in scientific exchanges of opinions and in teaching the relevant disciplines in those still not numerous cases when it is being conducted.
From the above definitions it follows that creative management is closer to the disciplines "personnel management" and "personal management", and heuristic - to "personal management" and "self-management". In turn, creative management relies on creativity - the area of knowledge about the productive collective solution of creative problems, while heuristic management - on heuristics, i.e. area of knowledge about the productive creative thinking of the individual.
Attempts to systematize the methods of heuristics and creativity were undertaken by R. Descartes and G. Leibniz. Recently, a large number of scientific works related to the problems of creativity, both collective and personal, have been published.
In creative management, as in any other science, theoretical and applied aspects are distinguished. The theory of creative (as well as heuristic) management is an integral part of the theory of creativity. The latter, depending on the area of use, has many varieties (the theory of scientific and technical, the theory of artistic creativity, etc.), which correspond to the varieties of creative and (or) heuristic management.
The applied aspects of creative management are associated primarily with innovations and innovations. Problems of creative management are organizationally linked with personnel management, when it is required to create so-called temporary creative teams.
It is important to solve the problems of creative and heuristic management for the formulation of artificial intelligence tasks. Recent successes in computer imitation of individual elements of the creative process (automation of collective purposeful behavior of robots, provision of interactive communication with computers of users in the natural language of their subject area, especially in connection with the implementation of projects for creating computers of the so-called fifth and sixth generations) have made it especially clear that it is necessary development of the fundamental foundations of creative and heuristic management.
Until the mid-1980s, both theory and practice of the study of creativity developed under the sign of the dominance of those aspects of it that relate to scientific and technical creativity (STT). Depending on the degree of novelty, there are three strategic levels in NTT:
1) rationalization;
2) invention;
3) discovery.
To date, more than 150 methods for defining scientific and technical creativity that are considered independent have been created. The directions of NTT are ultimately dictated by the existing system of knowledge, the structure of production and socio-economic tasks facing society. In using the large potential of NTT, creative and heuristic management is called upon to play an important role.
It is realized, as you know, through the activities of managers. The latter covers overlapping areas. The first is work with people, necessarily aimed at strengthening and better direct application of creative potential (creative management), as well as ensuring that they activate their own intellectual abilities (heuristic management). The second area is working with documents. It is focused on taking into account the associative and generational needs of those who master the information contained in the document (creative management), as well as developing the desire of the relevant participants in the process to prepare documents that can satisfy the consumer as much as possible (heuristic management).
Creativity and heuristics, like any other science, are based on a number of axioms. Of these, it is worth highlighting the following: a) for real effective creativity, it is necessary to comprehensively penetrate into the essence of the subject area in the field of view (the axiom "depth of knowledge"); 6) creativity requires the rejection of the prevailing stereotypes, dogmas and clichés; often the creation of a new one is restrained only by psychological inertia, the absence of an extraordinary point of view (the axiom "blurring the eyes"); c) the rejection of the prevailing stereotypes cannot be elevated to an absolute, it must be strictly rational, balanced and thoughtful (the axiom "splashing out the child with the water"); d) it is impossible to “produce” the creator by any organizational and other volitional measures, purely managerial tricks (the axiom “wings are given by nature”); e) the science of creativity and, therefore, creative management, while not generating a creator by themselves, allow him, however, to master a more powerful and perfect toolkit for his activities (the axiom “stand on the wing”).
Creative and heuristic management has in common with all other branches of science that it pursues rather definite goals. Today, the most interesting of them are the following: a) an assessment of the creative potential of an individual (a specialist whom they want to involve in solving creative problems), depending on a number of factors (specifics of the subject area, the extremeness of the situation, the presence of interference, etc.) ; b) creating a creative atmosphere in a team that has worked for a long time and has its own traditions, informal leaders, the distribution of role functions has justified itself; c) the formation of groups of experts designed to evaluate certain pre-developed proposals, in particular in the field of innovation policy focused on improving the state of affairs and preventing crisis situations in which an enterprise (firm, association, etc.) may find itself; d) the formation of temporary creative teams from persons capable of effective participation in the group creative process; e) assessment of the dominant motivational attitudes that gave rise to their causes and possible ways solutions in the short and long term of tasks requiring the applied creative abilities of a specialist; f) determination of heuristic methods, operations and techniques that need to be mastered for a better and more efficient solution of creative problems for specialists who have entered temporary creative teams.
Management as a special kind of activity has never moved away from creativity; on the contrary, he always used it, and in two ways. First, for their own needs, i.e. for the development of certain management decisions. After all, even such purely everyday everyday actions as all kinds of meetings, conferences, planning meetings, "five minutes", etc., for managers, in fact, represent the occupation of creativity - albeit often ineffective, even stupid. Second, management uses creativity to motivate subordinates to take actions that are required from the point of view of those in charge. Such an impulse presupposes, with its elementary literate organization, a constant appeal to the creative principle inherent in each employee, albeit carried out at an intuitive level.
The study of creative processes in connection with the creative activity of man has a long history dating back to the 17th-18th centuries. Starting from the 30s of our century, the emergence of fundamentally new methods for the implementation of ideas developed in this area has been noted. The place of reasoning and advice was already taken by a kind of instructions, in which they sought to reflect a certain regulated set of specific procedures that embody creative processes in implementation economic activity... Currently, the literature on creativity (it refers mainly to engineering) offers several dozen such methods. All this diversity can obviously be concentrated by distinguishing two groups of methods: 1) aimed at enhancing the creative and heuristic abilities of a person; 2) employees to formalize his logical-analytical activity.
These groups of methods are not opposed to each other and are not fenced off from each other by the "Chinese wall"; on the contrary, in reality they interact closely, with one group complementing and strengthening the other. The first of these groups "pushes" to solve the problem, allows you to quickly find the "gold mine"; the second is based on specially developed techniques that reflect the historical experience of a person.
Each of the methods has its own area of use, its own special meaning, complexity, efficiency, and, of course, adherents and opponents. It is important that neither commitment nor rejection is absolutized; it is equally important to consider that all methods of solving creative problems are psychological tools. Which one to choose in one case or another is decided within the framework of creative and heuristic management, taking into account all the complexity of the circumstances.
Thus, creative and heuristic management do not "invent" methods of enhancing creative potential, but only determine their optimal nomenclature and the most rational sequence based on developments. At the same time, the goals and possible limitations of creative and heuristic management are taken from innovation management, which in this perspective provides them with the vital functioning of the infrastructure.
Emphasizing that modern management is permeated with creativity and without it it is generally impossible, however, one cannot forget about the well-known truth: the more creativity is in a certain area of activity, the more its gravitation towards the sphere of art. The birth of creative and heuristic management means, among other things, that the latter receives, as it were, additional “anchors” that keep it within the framework of rigorous science, since the entire management system is brought to a qualitatively new level of scientificity, consistency, and formalization. Practice shows that this transition to a new stage of development occurs smoothly, without violating the apparent integrity of the created harmonious system, however, with a deep deformation of many established and seemingly unshakable truths and stereotypes. Hence, it is legitimate to assume that the management system is entering a new phase of development, and therefore new interesting discoveries await it, primarily in comprehending the foundations of creativity.
Management of creative processes, as follows from the above, is closely related to the problems of thinking. The nature of this connection and the circumstances arising from it require a special study, which has not yet been carried out to a greater extent and has not even begun to a significant extent. In this publication, it is unrealistic to try to somehow solve this most difficult problem. I will confine myself only to pointing out that the management of creative processes should be carried out on the basis of certain ideas about the foundations of the theory of thinking. Modern science came to the realization that creativity is an integral concept of heterogeneous and often contradictory processes, and it is necessary to be able to single out in this tangled conglomerate exactly the structural component that is required under these conditions. Otherwise, the most important position of management is not realized: for it, the control object must always be concretized, competently and clearly outlined and presented in clear and unambiguous terms.
After a long latency period, creative management and heuristic management at the present time, despite all the difficulties of formation, have already declared themselves as real-life areas of knowledge. Moreover, they are becoming firmly recognized. A very striking evidence of such recognition is usually the introduction of the appropriate discipline into the educational process. With regard to creative and heuristic management, this stage has already been reached: in February 1995. the presentation of the corresponding curriculum for economic and management universities in Russia took place at the State Academy of Management.
2.2
Creative management.Creative approach to making resheniya
Sustainable development and social intelligence
The need to improve efficiency economic activity in Russia, the formation of now irreversible market relations requires an appropriate management apparatus, specially trained people-managers who are able to organize socio-economic structures and rationally (scientifically) manage them.
It so happened historically that Russia lagged behind in its economic development from the "market" countries of the world, and now it must go through the stage of reorganization (or transformation) of society, carrying out a creative synthesis of foreign experience, taking into account its uniqueness and originality. As you know, economic laws, in contrast to the laws of nature, are mediated by "living people", in the desires and choices of which there are expectations, norms, attitudes, traditions, moral and moral values... Our failures in carrying out economic reforms are associated with the uncertainty of the strategy for cardinal reorganization of society (including the political, social and moral environment), as well as with blind copying of someone else's and alien experience. We did not take into account that Russia has a thousand-year history of entrepreneurship and that “... Russian folk ethics and aesthetics, which still have pre-Christian roots, created an atmosphere of respect for the ideals of goodness, justice and truth in life and business,” - a German entrepreneur reminds us of this ... In order to avoid gross mistakes in the future, we need to critically rethink the experience of in-house and sectoral management in the world, but the main thing is to learn how to find the best (optimal) solutions in the conditions of insufficient stability and uncertainty of socio-economic life characteristic of today's Russia. It is about mastering a creative (creative) approach to decision-making.
A creative approach will allow not only to "revive" market relations, but will also make it possible to more competently solve the most important and most difficult task: to achieve economic effect due to the rational distribution of functions between government agencies, business and the market and the balance of social, economic, cultural and political life.
The fact is that the market, the essence of which from the standpoint of management is the transfer of responsibility for decision-making from a person to some impersonal mechanism of "supply-demand", does not even provide economic equilibrium. This was shown by the famous economist W. Euchen W in 1939. At the same time, a centralized management policy is not able to establish equilibrium; this was proved by our Soviet experience in managing the economy and the country.
How to link the market (and aggressive towards nature) mechanism of "supply-demand" and the need for equilibrium (balanced) development with limited resources, especially rare and non-renewable ones?
At the UN Conference in Rio de Janeiro in 1992, it was proclaimed that the problem of sustainable development of mankind can be solved through the transition to controlled socio-cultural evolution based on social intelligence. Thus, the human factor (upon reaching a certain educational level) becomes the most important in resolving the main contradiction of our era: the contradiction between the new quality of the energy basis of civilization and the old quality of spontaneous (that is, market!) Regulators of economic development. It is obvious that the mindset of a manager must meet the challenges of the times and allow creative problem solving. economic development both at the country level and at the enterprise level.
In technology, to develop algorithms for sustainable control of an object (rocket, aircraft, spacecraft, etc.), object models are used: mathematical, physical, simulation, game, etc.
The need to use models (including mathematical ones) in economics is obvious. Difficulties lie in taking into account the human factor. Creative thinking suggests the following: if the human factor does not lend itself to mathematical interpretation, then you can give it the freedom to solve problems that are not amenable to formalization. This means that the initiative, activity and creativity of people, if conditions are created for their manifestation, can compensate for the lack of information or the incompleteness of a priori knowledge about the operation of economic laws. The unique ability of individuals and groups to self-study and learn can serve the same purpose.
So we come to another new idea: if it is difficult or impossible to describe by any model real connections and processes in economic structures (for example, because of their great complexity ("curse of dimension") or because of their lack of structure and order), then you can try to include the mechanism of self-organization and self-learning of the system, self-formation of its model. Such mechanisms (algorithms) for technical systems are being created, and the time has come for their application in organizational and economic systems. It seems that the introduction of self-organization methods in conjunction with the methods of reengineering would make it possible to effectively solve the issues of anti-crisis and (in the future!) Crisis-free management.
In-house management problems
Each production and economic structure (PES), organization or firm can be described by different models - depending on the point of view of the system. The classical model of the firm is determined by the production function, which expresses the dependence of production results on the input factors and their configuration (size and ratio). The production function also depends on the external (market) environment, with price information being considered the main signal. The economic behavior of an enterprise lies in the choice of the volume and structure of the resources involved. The limitation of this model is the failure to take into account a number of factors (organizational structure, decision-making mechanisms), especially in the context of unforeseen changes. One of the problems consists in choosing the ratio of options: 1) studying (forecasting) the environment and 2) building an adaptive structure capable of automatically (semi-automatically) reacting to changes in the environment.
The entrepreneurial model of the organization is based on the presentation of the enterprise as an object of entrepreneurial initiative. Here, the basis is the relationship between the entrepreneur and his business (business). At the center of the activity of such an enterprise is the businessman himself - independent, determined to succeed, creative, able to work in contradictory conditions. The main problem of an entrepreneur is organization production process as a new connection of resources; the economic behavior of an enterprise in this model is the effective interaction of all three levels: external relations, material and financial flows, production.
Depending on the model and type of organization, management functions will be addressed in different ways. Let us dwell on these functions, highlighting contradictions and analyzing creative approaches to their resolution.
Choice of goals.
An organization is usually created for a mission, and the choice of goals is determined by its capabilities and the state of the environment.
The correct formulation of the mission is impossible without a creative solution to at least the following problems: 1) the problem of combining the philosophy of an organization of public importance and the interests of owners, employees and consumers of products; 2) the problem of asserting the firm's own face, giving it uniqueness and contributing to the creation of a corporate spirit. For example, the well-known Japanese company Matsushita sees its mission in helping to improve the quality of life of people by supplying society with “household appliances as cheap as water”. The firm "Belorusskoe Pole" has set the main goal to create a market for services and inexpensive goods for people with disabilities. It seems that the choice, say, as a mission of creating jobs for people with disabilities and their involvement in socially useful work, is not only of economic importance. At one time in Serpukhov, we discussed the problem of creating a play park in which children could develop their physical and creative abilities - this is a field for entrepreneurial initiative, which cannot but support the state, which spends a lot of money to treat young drug addicts.
When choosing goals, the options can be:
1) a new product or service;
2) new quality of goods;
3) a new contingent;
4) new (reduced) product price.
The danger in choosing is, for example, that, being carried away by profit, you can gradually (or rather quickly) lose competitive advantages, slow down the growth of the value of the enterprise's capital and fade in the long term. It is important not only to correctly define the mission (like Ford's “Cheap Car” or IBM’s “Aftermarket Computer Service”) and “market niche”, but also to correctly place the emphasis on time (today - profit, tomorrow - reputation).
The problems in choosing goals are not only in avoiding inconsistencies (for example, it is impossible to simultaneously minimize costs and lost profits), but in making these goals an internal affair of each employee. This is possible when the employees themselves are involved in the development of the goals. And then, by the definition of Acad. Leontyev A.N., the internal (unconscious) mechanism of creativity is launched.
Problems of motivation and stimulation of effective activity of employees.
There are at least two problems here that require creativity. The first consists in a reasonable combination of material and moral incentives, and the share of the latter increases with the growth of workers' incomes. The difficulty lies in taking into account the individual qualities of people, the orientation of their personality, in conjunction with the problems of formation corporate culture and strengthening the moral climate in the team. There is more than one known case when employees were deservedly raised their wages, but their colleagues did not accept this, and conflict situations arose in teams.
The second problem is related to the convergence of the needs (internal tasks) of workers with the tasks of the enterprise as a whole. An ideal result (one hundred percent coincidence) is obviously impossible to achieve, but, according to experts, a 60% coincidence is acceptable. It should be noted that in this area a manager has many opportunities for creativity: to make sure that the highest needs of people (if you follow Maslow, these are the needs for self-actualization) are satisfied in the workplace (at least partially). The very desire of a leader to provide such an opportunity can play an invaluable role in terms of creating a synergistic creative effect that will “work” for the firm and its prestige.
A specially created conflict (ideas, approaches, aspirations) can also play a large stimulating role (in terms of the creativity of employees), but it is fraught with the fact that it can develop into an uncontrollable and destructive (instead of the planned creative one), and the leader must be responsibly aware of the extent of his capabilities and his authority to manage such a delicate matter.
Creativity and harmonious development of managers
In the past, it was customary to call people of literature and art creative workers. In fact, a person of any profession creates if he finds a new solution to a known problem, solves a problem, or opens a new direction. In this article, we tried to show only some of the creative tasks of a manager and approaches to their solution.
Philosophers argue about the initial impulse of creative thought, about anticipation or anticipation. “Say, can you have a thought at will? Not the one that is well-known, but the new one? Is it possible to want to make a discovery - and to make it, in order to cognize, you need to know in advance what you want or need to know ... Then how is this movement of thought even possible? Where does it come from? How?" In the same vein, Goethe said about anticipation: "If I, thanks to anticipation, no longer carried this world in me, then I, the sighted, would remain blind." And, finally, here is what Ak. VA Engelhardt: “We are not doing anything,” says Pasteur, without having a preconceived idea. Prejudiced ideas, when subjected to the rigorous control of experiment, become the life-giving flame of science. "
We adhere to the point of view that the impulse of creativity is associated with a feeling of disharmony, with the desire (rather unconscious!) To unite two mismatched world-images: external and internal. And in this regard, the comprehensive and harmonious development of trainees (including managers) and, thus, the formation of an internal model of the world, appears in a new light: as a necessary condition for the development of creativity. The narrow focus of knowledge goes against nature, since, according to D. Diderot, nature knows nothing about the fact that it was divided into different sciences. And not by chance, but by the logic of the subject itself, in this article we have invaded various areas of knowledge.
The development of abilities is, as it were, an inverse task in relation to learning. First, based on the analysis of the field of activity, professionally significant abilities and necessary personal qualities are determined, and then disciplines, subjects, educational and practical ("unrefined") tasks, business games are selected to develop the abilities of a particular person, taking into account his data and inclinations (here an individual approach is inevitable). Naturally, when choosing educational tasks, one cannot be limited to one area of knowledge. At the same time, highlighting contradictions and creative issues will allow the student to actively engage in creative activity and develop meta-knowledge, that is, knowledge of how to acquire new knowledge. Not just a search for a compromise (to smooth out contradictions), but access to new spaces with increased degrees of freedom (supersystem, self-organization in space and time, self-learning, etc.) are both creative techniques and meta-knowledge (when they become a tool for solving tasks in a new area), and the path to the development of intuition.
Intuition as the ability to see the whole, bypassing the details, as the ability to quickly solve a new, never experienced, task is referred to the most important and not fully studied tools of creativity. This ability is identified with a high speed of the flow of thought processes, which at the same time acquire a new quality, as well as with a developed spatial thinking... Modern Information Technology and computer graphics allow to give the studied processes any speed, and objects - any configuration, which can be deliberately used to develop intuition in trainees. At the same time, as D. Watson (one of the authors of the "double helix" - the structure of DNA) advises, "... you have to keep a whole load in your memory, etc. .............. ...
A team (from Lat. Collectifious - collective) is a group of people united by common goals and objectives, who have reached a high level of development in the process of socially valuable joint activities. A special type of interpersonal relations is formed in the team, characterized by high cohesion as a value-orientational unity. By type of activity, there are labor, educational, military, sports, amateur performances and other groups.
Types of creative teams
Creative workers in the broadest sense are found not only in the theater, musical groups or the motion picture industry. Creative employees are present in all areas of business, they are the main developers and engines of new ideas. However, the result of their work belongs not only to the company. So, if a person creates knowledge, then it only partially belongs to the company, and in full remains in the ownership of the creator. This is the main risk in working with a creative team: if a leader fails to retain creative people, the business can face serious problems.
In this paper, we examined the teams directly involved in creative activities.
The specificity of the creative team is as follows:
1. The creative, performing collective continues with its collective creativity, once and by someone started the creative process;
2. The creative team creates its own interpretation of the performed work;
3. The team leader combines formal and informal leadership;
4. Any member of a creative team who implements a common creative idea for all, in this way manifests his individual creative principle.
To get the most out of the creative potential of the creative team, it is helpful for the team leader to know how creative people work and how to balance the risks and benefits.
E.P. Ilyin in his monograph "The Psychology of Creativity" notes: "A lot of work has been done in the field of the problem of criteria for creativity, but the desired results have not yet been obtained." Performing teams are creative, they try to solve creative problems. The creative team consists of people of creative professions, assembled to solve creative problems.
The main classification divides creative groups according to the type of organization, according to the field of activity (types of art), according to the goals of the collective.
Types of creative teams by type of organization:
· State - these are groups of workers engaged in creative activities in the state budgetary structure (for example, the State Academic Russian Choir, Moscow Virtuosi, Praktika Theater, etc.)
Budget funds are allocated for the following purposes:
1) remuneration of employees (specialists in creative, managerial, production and support personnel);
2) material support for the artistic embodiment of creative ideas and maintenance in working order of the material design of performances (programs, numbers), art exhibitions;
3) equipping the organization of culture with modern technical means and equipment, including ensuring the safety of storage funds and buildings of cultural organizations;
4) other costs associated with the main activities of the cultural organization.
· Private - these are creative groups operating at a culture and art enterprise established by a private individual or legal entity (for example, entreprise theaters, private art galleries, etc.).
According to the goals of their activity, the teams are divided into types:
· Commercial - the activities of such teams are maximally aimed at making a profit;
· Charitable - non-commercial activity with the aim of supporting those in need on the basis of voluntariness and freedom of choice of its goals (the poor, children with serious illnesses, actions in defense of animals, etc.);
· Social and educational - activities, the purpose of which is to increase the social socio-cultural level of the population.
The following teams differ in their field of activity:
· Musical - music, singing, choir;
· Choreographic - choreography, ballet;
· Literary - poetry, prose;
· Troupe - theater, opera, stage, circus;
· Film crew - cinematography, photography;
Art - painting, graphics, sculpture, architecture, arts and crafts, etc.
A musical collective is a collective of people united by a common goal or work, which, in one way or another, are connected with music. Usually a musical group consists of musicians, but it may also include other musical figures (producers, sound engineers, etc.).
In various musical genres and directions, there are different forms of classification of groups in terms of size and character.
A group of two participants is called a duet, of three - a trio, of four - a quartet, of five - a quintet, of six - a sextet, of seven - a septet, of eight - an octet, and out of a larger number of participants - ensemble or orchestra.
A choreographic collective is an association of people based on an ideological, ethical and artistic and creative community, carrying out its activities through dance. In accordance with the genre of performance, choreographic groups are folk, classical, pop, ballroom dance, ballet, etc.
The troupe is a permanent creative group of actors, singers and musicians. In Russia, the word "troupe" usually denotes the creative team of a particular theater or circus. The type of theater determines the character of the troupe, they can be dramatic, operatic, ballet, operetta. In many countries, a typical theater organization does not imply the creation of a permanent troupe (actors are hired for specific performances); in such countries, a theater with a permanent troupe is called "repertoire". In Russia and the countries of Eastern Europe, most theaters have a permanent troupe, a set of performances and a venue, so clarification is usually not applied.
Film crew - a temporary production and creative team directly working on the creation of a film, TV show, series. The production of any film is carried out by a group of creative and production workers, united at the time of production in a common team called the film crew. The composition, number and time of the existence of the film crew depend on the type, genre, stage complexity of the film. Documentary films can be produced by a small group, in which a director, cameraman, sound engineer and director are sufficient. Full-length feature films are produced by a group that can include several tens or even hundreds of employees, depending on the scale and complexity. Throughout the various stages of making a film, the composition of the film crew changes depending on the complexity of the tasks.
The main creative team of the film crew:
· Production director - key creative leader, author of the project, the main person on the set;
· Director of photography (chief operator) - develops the visual solution of the film and directs the camera team;
· Production designer - responsible for the visual and decorative solution and design of the film;
· Composer - writes musical themes and musical accompaniment for the film;
· Sound engineer - oversees all stages of phonogram production, forms the concept of sound and creates artistic sound images.
Administration of the organization of cinematography - head, deputy heads, board members, editor-in-chief, chief engineer, chief accountant.
So, the study of the types of collectives showed that creative collectives can be divided into groups according to the type of organization, according to the field of activity (sphere of art), as well as according to the goals of activity, it can be concluded that regardless of the types of collectives, the essence of them is the same - this is the creation cultural values and their interpretation.
Ministry of Culture of the Republic of Tyva GOU SPO "Kyzyl College of Arts named after A.B. Chyrgal-oola " Course workTopic: Pedagogical features of the formation and development of a creative amateur collective of a fourth-year student Chayan Grigorievich Mongush department "SKD and NHT" specialization "Choreographic creativity" Checked by: R.М. BulugunKyzyl - 2011 1
CONTENT Introduction ……………………………………………………………………… .. 3 1.1. The concept of amateur performances, their types and genres ........................................... .................................................. ..................... 4 1.2. The development of artistic activity in the 60-80s …………………. 5 1.3. Pedagogical features of the creative team ………………… .. 6 Chapter 2. Amateur performance as a social and pedagogical phenomenon2.1. The specifics of an amateur association, as a pedagogical system …………………………………………………………………………… 7 2.2. Forms and methods of educational work in a creative team ... .... 19 2.3. Formation and development of the amateur collective "Depo" ...……… .... 23 Conclusion................................................. .................................................. ......... 29 Bibliography................................................ ............................................... 33 Appendix. 2
Introduction I chose the topic of the term paper - " Pedagogicalfeatures and formation and development of the teamcreative amateur association», Because this topic is directly related to the professional activities of the club employee. After all, we, strawberries, work with participants in amateur art activities, organizing their activities. While working on this theme, I set myself purpose to analyze the development of amateur performances and their forms and methods of educational work in a creative team. For this I have to decide tasks: Give a definition of amateur performances and find out choreographic amateur performance as a type and genre of artistic activity in Russia; Find out the development of artistic activity in Russia; To find out the meaning of amateur performance as a social and pedagogical phenomenon; Find out the forms and methods of educational work in a creative team; Find out the development of the amateur collective of Tuva. Chapter 1. Amateur art and its development 1.1.The concept of amateur performances, their types and genres 3
Amateur art is rooted in traditional folk art. Folk art is artistic folk art, folklore, artistic creative activity of the people. The views, ideals and aspirations of the people, their poetic fantasy, are embodied in folk art, richest world thoughts, feelings, experiences, dreams of justice and happiness. It was the historical basis of the entire world artistic culture. Amateur art is one of the forms of folk art. It includes the creation and performance of works of art by amateurs performing collectively (circles, studios, folk theaters) or alone (singers, readers, musicians, dancers, acrobats, etc.). Different kinds and genres of amateur performances developed unevenly. Choral, theatrical and partly choreographic amateur performances are somewhat reduced. At the same time, the growth of vocal and instrumental ensembles, film and photo associations, agitation and artistic teams, collectives of fine and decorative applied arts is observed. At the same time, only in the state cultural institutions of the country there are currently 50 thousand amateur associations and clubs of interest, of which 16 thousand are art criticism. and participants in third place. It is approximately equally widespread, both in the city and in the countryside. Process 4
the development of amateur choreography is accompanied by the appearance in the country of dozens of folk ballet theaters staging performances of various genres. Folklore dance groups and ensembles of classical dance are developing. One of the most promising forms of development of amateur choreographic activities are schools and clubs for ballroom dancers. Such clubs can have a complex structure, including a number of creative sections (performing, art history, film-photo group), as well as sections for organizing mass events (evenings of relaxation and dancing, concerts, etc.) 1.2. The development of amateur performances 60-80sAmateur art activities of the USSR 60-80s Amateur arts - non-professional artistic creativity of the masses in the field of fine and decorative applied, musical, theatrical, choreographic and circus arts, cinema, photography, etc. In pre-revolutionary Russia, art lovers united in circles and societies at clubs and meetings. There were also workers' circles, folk theaters, which were under the strict control of the authorities, who were suspicious of any popular initiative. Amateur groups arose at clubs, houses (palaces) of culture, factories, factories, educational institutions, military units, collective farms, state farms, transport, etc. 5
The work of the amateur club is directly organized by its leader, who recruits participants, planning and conducting educational and concert-performing activities. The leader is obliged to regularly conduct training sessions lasting at least three hours. The body of public self-government is the general meeting of participants, which is elected by the council of the collective. Amateur art groups carrying out active activities in communist education, having a high ideological and artistic level of repertoire and performing skills, educational and creative work, can be awarded the title of "national amateur group". General management is carried out by the artistic director. 1.3. Pedagogical features of the creative team. In modern reality, great attention is paid to psychology and ethics. pedagogical communication... Today, more than ever, such problems are becoming urgent. This is due to the development of a democratic society in our country, in which a person comes to the fore as a person, a person who requires attention and a benevolent attitude. Such relationships are not alien to the work of the creative team, the effectiveness of which largely depends on the pedagogical tact of the teacher. The success of the entire team depends on how correctly the team leader chooses his style of work. Chapter 2. Amateur performance as a social and pedagogical phenomenon 2.1. The specifics of the amateur association as a pedagogicalsystems 6
Self-activity, like any objective activity, has objective results: the rationalizer has his proposal for reorganizing the production process, the theatrical collective has a performance, the propagandist has a report, etc. to the idea that amateur organizations should, in principle, be managed as well as similar professional ones. Supporters of such views only make allowances for some external features of amateur performance (lack of special training for participants, fatigue after the main work, etc.). An amateur organization differs from a similar industrial, professional organization in principle, as a qualitatively different system. The individual components in these systems — industrial and amateur — exhibit only superficial similarities; their internal characteristics turn out to be their own, but, most importantly, the connections and dependencies between the components turn out to be special. Schematically, the structure of any organization can be represented in the following main components: 1. Organization or management unit (including goals, objectives, program, leaders, means of their influence on the managed object, etc.). 2. Managed object (materials, people, means of achieving goals and objectives, etc.) 3. Actually the activity, process, interaction (having content, form, duration) .7
4. The actual result (results). Control unit Controlled process object of activity Result: As noted above, when considering the functions of amateur performance, it represents a predominantly pedagogical system, functionally designed to improve the individual or a group of participants in the amateur performance. Organization of creativity in the system of amateur performance tasks Amateur organizations are extremely diverse. In fact, there are no two collectives that are alike even within the same genre or type, for example, two identical folk theaters. They differ in the composition of the participants, the creative positions of the leaders, the environment in which they have to act, and many other conditions. Amateur organizations differ even more depending on their affiliation to specific types of activity. Some collectives are artistic and performing, others are artistic and critical, author's. But there are also other classes of amateur performance, besides artistic: technical, scientific, socio-political, etc.
It is perfectly clear that the question of the tasks of the creative work of amateur groups cannot be solved by deriving in some way general, unified tasks for all. However, it would be wrong to believe that the variety of self-activity gives the right to absolute discrepancy and complete voluntarism of leaders in defining the tasks of their activities. The tasks of each team, or association, can be represented as a kind of their system, representing several interconnected levels. I. The highest, highest level of tasks is represented by the tasks of the communist education of man. These are the most common tasks facing the initiative as a pedagogical system. These tasks are general in nature not only because they determine the essence of all Soviet pedagogical systems (school, vocational school, higher educational institution, etc.), but also because they have the character of goals-objectives that need to be concretized, translated from strategic plan in the plan of tactical management of amateur performances. If the tasks of the self-activity of others, characterized below the levels, do not show any connection with higher "general" tasks, then they lead to the emergence of socially limited, ineffective activity. II. The second level is made up of tasks that depend on the peculiarities of the content of each class of amateur phenomena. They are different, for example, among amateur associations of a socio-political or technical nature. Since each of the directions existing in Soviet amateur performance also has internal subdivisions (for example, in amateur performances there are performing, author's, artistic research and other subclasses), this second 9
the level of tasks is also determined by the combination of the capabilities and characteristics of the type of culture (political, artistic, technical, etc.) III. The third level of tasks is associated with the capabilities of each relatively narrow genre or type of amateur performance. So, for example, circus groups or vocal and instrumental ensembles can solve their own tasks, which are specific for this type of amateur performance. These tasks, determined by the genre nature of a particular type of art, create pedagogical situations typical for this type of amateur performance. IV. Finally, the tasks of organizing the creative process in an amateur association should be solved taking into account the individual characteristics of each subject. Everyone has their own motives for participation, their own conditions, their abilities, advantages and disadvantages. In the special literature devoted to questions of amateur performance, this question is most often posed as "taking into account individual characteristics." However, it should be about individual programming activity of the subject, that is, on the definition of tasks focused on each participant, providing optimal conditions for the disclosure of his abilities. Of course, with such a variety and interconnectedness, pedagogical work cannot be specified in detail in theory or in recommended methods of leadership in amateur performance. independent organizations are self-programming, that with the general functions and goals of amateur performance in each specific case, the entire hierarchy of tasks is "erected" within each association, depending on its conditions and the possibilities of an ideological, educational and creative order.10
Of course, in practice it sometimes turns out that the leader of an amateur collective generally has little comprehension of his own actions. Some actions (exhibition, concert) seem to be an end in itself, not motivated by any tasks. But these are examples of unprofessional work. One of the indicators of a professional position in the management of amateur performances is pedagogical motivation of the planned actions, as well as pedagogical logic that unites actions into their system. The basis of such logic should be a conscious interconnection of tasks of different levels. The most important, "through" moment of the system of tasks of amateur collectives is the organization of creativity, which in the conditions of self-activity turns out to be not so much a process of production of objective results with signs creative, as much as the process of forming the creative qualities of the participants. The task of organizing amateur performance as a creative process, undoubtedly, belongs to the general tasks, and therefore can be considered as one of the main foundations of the general methodology for organizing the amateur creativity of workers. The essence of creativity. Features of creativity of amateurs Self-activity as a socio-historical phenomenon is the sphere of the creative activity of the masses. But in each individual case, independent phenomena turn out to be creative phenomena to an unequal extent.11
Before studying the features of various types of amateur creativity within the framework of the general methodology for organizing amateur performances, it is necessary to consider the most general issues creative activity. In the shortest possible way, creativity can be defined as an activity characterized by uniqueness, originality, leading to the creation of something qualitatively new, which bears the stamp of socially valuable and unique. The Marxist-Leninist concept of creativity proceeds primarily from the need to form such a person who is able not only to satisfactorily exist in the existing conditions, but also to creatively change them in all plans, transforming nature, social relations and people (including himself). Signs of a creative personality are independence of thought, the ability to take a critical look at previous experience and the surrounding reality, to analyze and synthesize. A. S. Makarenko called these abilities "his own orientation". It is impossible to provide a person for life with recommendations on how to act correctly in a given situation, to foresee all possible situations in which he may find himself. The formation of a Soviet person capable of independent assessment, analysis of surrounding phenomena, people, events and political information is important as a means of ensuring the spiritual wealth of the individual, his ability to resist negative influences and hostile ideology. Another sign of a creative personality is individuality, originality, uniqueness of qualities. Creative personality, according to 12
K. Marx, leaves the stamp of his own original ideas on the world. The task of developing the individual in each person from the first years of Soviet power has become important and socially significant. “Only a society that is diverse in its individual human personalities, disintegrating into distinct individuals,” wrote L. V. Lunacharsky, “represents a truly cultured rich society. The herd personality easily submits to any kind of Bonapartism and leaderism. A herd person cannot be critical of what life provides him. We have to expand the features, talents, appropriate skills that a person has chosen for himself and which society has indicated to him. " It has now been proven that in whatever area such personality traits as independence, critical thinking, the ability to self-orientation and self-realization are formed, they turn into a general attitude that determines the creative position of the individual in other areas. Recent studies have shown that in the period of transition from socialism to communism, creativity in the sphere of leisure leads to “the transformation of free time into an especially important, decisive factor in the development of the individual, to the removal of the negative influence of uncreative types of work on the personality with the help of free time. Here the reverse effect of free time on labor can be most clearly traced. " However, the activity in an amateur collective does not in itself lead to the formation of a creative personality. The ability to be independent, to realize individually unique things can be suppressed by the leader. It depends on the conscious direction of work to solve the problem of developing creative abilities and on the leader's ability to organize activities as a creative process, 13
providing an opportunity for individual self-realization of participants. The leader of an amateur performance, who is faced with the tasks of educating a creative personality, organizing genuine creativity and forming the participants' attitude towards creativity in all spheres of life, needs to be especially clear about and aware of the features of real creativity. One of the most important signs of creativity, as already noted, is the novelty or originality (non-standard) of the method of activity or its result, product. In scientific work, creativity is manifested either in the discovery of new, previously unknown patterns in the world of nature, society and consciousness, or in the development of new methods (techniques, methods, techniques) of cognition, research of the surrounding world. In the field of technology, creativity is a new technology for obtaining already known products and modeling (designing) qualitatively new objects, products, and samples. In the artistic sphere, creativity is also the creation of new works of art or the original interpretation of already known works. Specialists distinguish between the concepts of “creativity” and “skill”. Mastering all the best, perfect in the experience of predecessors and colleagues, high skill is called mastery. The ability to take a step forward compared to the experience of predecessors, to act individually uniquely, innovatively is called creativity. Craftsmanship and creativity are intertwined. Most often, creativity is possible on the basis of skill, although there are exceptions. If mastery is the result of school, training, experience, then creativity as an original, unexpected, non-standard solution does not necessarily manifest itself as a result of “school”. Creativity of children, primitivist artists, scientific 14
discoveries by hobbyist enthusiasts confirm that innovation is possible and not based on excellence. However, it should be borne in mind that culture, broad outlook, respect and knowledge of the work of creators of various directions, styles - important points in the education and upbringing of a creative person. True, innovative creativity, naturally, is impossible without deviating from what is already known, without overcoming it. However, not every novelty or deviation from the traditional, generally accepted is a creative act. Otherwise, it would be necessary to consider creativity and destruction, errors in activity, leading to the emergence of "qualitatively new". In addition to novelty and originality, an obligatory sign of creativity is the social significance of the result, the progressive nature of the activity, and the enrichment of the experience of predecessors. These features make it possible to distinguish creativity itself from empty originality, useless innovations and illiterate activities, characterized only by external novelty, meaningless form-creation. The level of creativity depends on the social significance of the result, skill, as well as on the unique individual qualities of the creator. For humanity, not only the activities of geniuses and luminaries are important, but also the creativity of the masses. Culture consists of the creative contributions of the great cause of people. Each step forward into the unknown, even if insignificant at first glance, is of great value for the total human experience, since it is difficult to foresee which subsequent achievements it opens the way to. In principle, it is impossible to draw a sharp line between the work of professionals and amateurs. The activity of a person or a team that has signs of novelty, originality and social 15
significance that is of interest to others, objectively turns out to be creativity, regardless of whether it is professional or amateur. The history of art shows that many outstanding masters were not professionals in the strict sense of the word. And for many contemporary artists, the path to great art began with non-professional, amateur activities. Gifted people, having discovered talent in any other activity, may not change their main profession, but act in several areas of creativity. The foregoing allows us to conclude that the constructive, creative ability is available not only to professionals. Amateur activity can also be genuine creativity. Of course, it is also undeniable that amateurs are much less likely to become outstanding masters in comparison with representatives of professional labor. It couldn't be otherwise. Professional activity (artistic, scientific, technical) is carried out by people who have mastered in the process of study in special educational institutions, and then throughout their creative life, a huge stock of knowledge, skills and abilities. In addition, the existing competitive system for filling vacancies, creative contests, awarding academic degrees and honorary titles - all this allows us to constantly identify the most talented among the gifted. As far as amateur activities are concerned, the principle of our policy in this area is general accessibility. Most amateur associations accept everyone, regardless of the level of giftedness. Therefore, there may be very capable participants and people with rather modest abilities.16
An amateur cannot devote much time to educational and training work that brings mastery, and this makes it difficult to achieve significant results. But in activities where the result depends to the maximum extent on imagination, unexpected decision, originality, uniqueness of abilities or experience, that is, on qualities that are less dependent on training, participants in amateur performances can create truly valuable and interesting. At the same time, it is not a secret for anyone how famous and popular among the people are individual participants and groups of amateur performances, which in their skill are not inferior to "professionals". It is therefore no coincidence that among amateurs there are people whose work arouses interest and finds recognition, for example, among masters of professional art. Considering the question of the peculiarities of an amateur's creativity, one should pay attention to the fact that an activity that does not contain novelty and originality (from an objective point of view), for the amateur himself, may have the character of creativity. In order to better understand this, you need to distinguish between the concepts creation and creative activity. If in the first case, we mean both the process and the result, which have the characteristics that were discussed above, then the concept of "creative activity" includes the idea of only the process. Creative activity involves the setting of a problem or the formation of an idea that does not have known solutions and interpretations. In essence, any creative activity, when the possible options are sorted out, the material is investigated, solutions are formed, has a search character.17
Essentially creative activities do not necessarily lead to outstanding creative results. A scientific problem can be only partially solved, the found construction does not have absolutely perfect parameters, artistic image not convincing enough. But participation in creative activity does not pass without leaving a trace for the individual: the individual's own qualities as a creative person are improved. If creative activity does not always give an outwardly visible result, then it is still important as creativity for oneself and as creativity of oneself. Amateur activity very often, while not being creative in the full sense of the word from an objective point of view, turns out to be creative for oneself in the subjective sense. The fact that amateur performance does not often nominate outstanding creators from its midst does not in the least belittle its social significance, since organized amateurism has different goals in comparison with the professional spheres of work. If the goal of professional creativity is to enrich human culture with new, outstanding models, then the goal of amateur performance is to develop the creative abilities of the broad masses of participants of any degree of giftedness. 2.2. Forms and methods of educational work in a creative team The forms and methods of educational work can be different and depend on the nature and direction of the creative activity of the collective. 1. The teacher, starting the staging work, tells the participants about the story on the basis of which the staging is made, about life, costumes, traditions, about images and characters, about the motives of their actions, etc. All this must be prepared for the participants in a language they understand, 18
it is possible with the display of colorful illustrations, to present the material emotionally, expressively. 2. Watching special films, listening to music. Collective viewing brings the participants and the teacher closer together. A common topic of conversation appears, in which the teacher cleverly and tactfully guides the participants into the channel of correct reasoning. 3. Traditions are also brought up, of which there can be many in a team: this is initiation into choreographers, and the transition from the younger group to the older one, etc. 4. The upbringing of discipline instills the skills of organization in the labor process, fosters an active attitude towards it. The teacher in the classroom awakens respect for common work, fosters the ability to subordinate the personal to the public. Conscious discipline is a discipline of inner organization and purposefulness. External discipline creates the preconditions for internal self-discipline. Participants become collected, attention in the classroom sharpens, they complete the assigned tasks faster and more clearly. 5. Setting numbers on contemporary themes are encouraged to meet interesting people, to read modern literature, visit museums, etc. 6. Joint viewing and joint discussion is useful concert programs, performances of both professional and amateur groups. 7. Analysis of the concert performances of the group itself. The teacher-leader is obliged to focus on both the positive and negative aspects of the program. It is important to pay attention to each participant, taking into account his individual characteristics of character. On time 19
the kind word spoken, the manifestation of support, approval will greatly help to reveal the abilities of the participants. 8. Great educational work is played by creative reports, exchange of experience between groups and creative assistance to each other. 9. Meetings with talented creative people. Their story about their profession and creativity has a strong emotional impact on the participants. 10. Leisure evenings with the participation of participants and parents ( New Year, March 8, February 23, etc.). 11. An educational moment in the team is the full employment of the participants in the team's repertoire. This is an incentive to practice, as they know that none of them will be left out. 12. The study of dances of other nations will be of great benefit in the artistic education of the participants. 13. The staging of choreographic works included in the "golden" fund of choreography has a great aesthetic impact on the participants. In this case, it is necessary to remember about the capabilities of the performers. Distortion of the idea of the performance, simplification of the dance vocabulary is unacceptable. And if, nevertheless, the number is delivered, the teacher needs to remember that he is obliged to indicate who is the author of the production and who prepared the number in this collective. Preparation of a large form of a choreographic piece or a large general program is one of the good ways to educate participants. The choreographic collective in a certain sense and in certain conditions contributes to the resolution of problems arising among the participants: 20
removes negative factors (complexes in movement, gait, behavior at discos, etc.); fosters responsibility (a necessary trait in the character of a little person, since the irresponsible attitude of some sometimes irritates and relaxes others); removes the tendency of "exclusivity" of some participants (this negatively affects the entire team); protects the child from unhealthy rivalry, schadenfreude, "star fever", which is an important task in the education of the participants. The teacher must teach the participants the ability to empathize with someone else's misfortune, the ability to defend, perhaps in spite of the entire team. Express your point of view, defend her child learns in a team. The teacher actively fosters decency, duty and honor in human relations in them, regardless of changes in their judgments and positions. Every conscientious teacher directs all his efforts to educating participants in a team. Notices all the features, observes their creative growth. For them, he makes every effort, sparing neither time nor funds for their all-round development. An experienced teacher who loves his pupils will always find an opportunity to assist a talented participant in his further creative growth. “After all, identifying and educating young talents, transferring their skills and knowledge to them, and then helping them in their further creative growth is the honorable duty of a teacher-choreographer. And in this we, choreographers, must provide each other with all possible help. ”Summing up the above, it should be noted that the participants' classes in a choreographic collective are an excellent means of educating them, since: 21
1. Classes organize and educate the participants, broaden their artistic and aesthetic horizons, teach them to be neat, smart, exclude laxity and licentiousness. 2. Studying in a team, they develop in themselves a particularly valuable quality - a sense of "fellowship", a sense of responsibility for a common cause. 3. Teach participants to clearly allocate their free time, help them think through their plans in a more organized way. 4. Classes help to identify the most gifted participants who connect their destiny with professional art. 5. They determine the teaching and organizational skills of the participants. Education should take place so that the child feels like a seeker and discoverer of knowledge. Only under this condition is monotonous, tedious, intense work colored with joyful feelings. 2.3. Formation and development of the group of contemporary dance - "DEPO" The modern dance group "Depo" was founded in 2004. The group consisted of guys who were previously engaged in other amateur dance groups. These are "Tanslima" MUSOSH # 2 of Turan, artistic director Elena Uynuk-ool and "Time out", artistic director Dongur-ool Alena Viktorovna. Both groups constantly took part in the "Startinager" modern dance competitions and were rivals. In 2004, from the Tanslim group, TyvSU entered: Ailana Mongush, Rosa Mongush, Sendazhi Shonchalai, Kara-Kys Antonina, Chingiz Syuryun, Edik Kunchuy. Since, 22
most of the dancers were in the city, it was decided not to give up what they loved, and to continue dancing. Later, former members of the Time Out team joined the guys. Many of whom also entered the same university: Oorzhak Shenne, Oorzhak Shenne Adygovna, Onan Choduraa, Chymba Marina, Aya. Elena Uynuk-ool became the head of the new group. Since most of the children studied at the university, it was decided to represent Tyva State University. Although at the university itself, no one knew about the existence of the group. There was no room for classes, I had to study in the lobby of the Otchugash cinema. In the evenings, the guys turned to face the windows, which reflected the dancers and acted as mirrors. Pedestrians watched the rehearsals with interest, many came in and were interested in what was happening. The guys still fondly remember the cinema workers who did not kick the dancers out into the street. Elena Sergeevna brought and took her music center to the cinema every evening. The costumes for the performance were sewn by themselves at night, in general, all on the same enthusiasm. In the city, qualifying round, the group took 2nd place, losing to the "Expressia" ensemble. After the competition, there was a proposal from the head of the dance group "Asia", representing Tyva State University, to join forces. So, the guys were already preparing for the republican competition of modern dances in the assembly hall of TyvSU. This hall is still one of the group's rehearsal halls. In the republican competition the group of contemporary dance "Depo" took 2nd place, having already overtaken the ensemble "Expressia", but yielding to the collective from Shagonar "Terpsichore". Why "Depot?" The name of the group is perplexing to many. Why Depot? What does dancing have to do with it? In fact, the name of the group, the whole idea of it, 23
head Elena Sergeevna Uynuk-ool. It came from Germany, yes, yes. This was the name of the club in the German student town of Tübingen, in which you could hear the songs of the group - "Linkin Park", since at one time Elena Sergeevna was fond of the work of the group. The Depo club was located at the old railway station. No one traveled on the railroad tracks anymore, there were no trains, but the rails and buildings remained. The locomotive whistles and the noise of the station were already inaudible, but they were replaced by music. No one came to the platforms, but it was still noisy and crowded here. There they danced, hung out, met and fell in love. When she was 19 years old, she fell in love with this place, she was interested there. And when she returned home, she wanted a part of "Depot", Germany, to stay with her. In the beginning, she really wanted to convey the atmosphere of the place, which was reflected in the performances and dances. Initially, the dances were more consistent with the name. The first dances were staged on the songs "In the end" and "Step up". But over time, the guys grew up, the repertoire changed, the productions changed. Now you can see more modern stylized, ethno-dances. Subsequently, the style of the group changed, as she herself changed. Now she is already putting something different in the name. But the name remained, which still puzzles viewers. Seemingly gentle dance "Cranes" performed by girls and the railway depot. But the group is not going to change the name. Maybe he will return to the old style, who knows. Today for her "Depo" means new adventures, acquaintances, new cities and countries, new festivals, contests, eternal movement. If you want life on suitcases, railway romance, the one who is sick with the "festival disease" will understand it. They already know this at the Depot.24
About the artistic director of the contemporary dance group - "DEPO": Uynuk-ool Elena Sergeevna, born on March 24, 1980, a native of the city of Turan, has a higher education. In 2001 she graduated from the Tyva State University. Works as a specialist in the department for the organization of extracurricular activities and social issues of Tyvinsky State University... Since 2003 he has been the artistic director of the modern dance group "Depo". Awards of the group of contemporary dance - "DEPO":2004- Laureates of the II degree of the city competition of modern dances "Startinager - 2004"; Laureates of the II degree of the republican competition of modern dances "Startinager - 2004"; 2005y- Laureates of the 1st degree of the city competition of modern dances "Startinager - 2005"; Laureates of the II degree of the republican competition of modern dances "Startinager - 2005"; Laureates of the I degree of the dance direction in the nomination "Variety dance" 25
republican festival of student creativity "Student Spring in Tuva - 2005"; participants of the "Russian student spring in Perm - 2005"; 2006- Laureates of the II degree of the republican qualifying round "Delphic Games in Tuva - 2006"; 2007y- Laureates of the II degree of the republican competition of modern dances "Startinager - 2007"; participants of the festival of student creativity "Student Spring in Siberia - 2007" in Novosibirsk; 2008y- Winners of the student creativity festival "Student spring in Tuva - 2008", Winners of the special prize of the student creativity festival "Russian student spring in Volgograd"; 2009- Winners of the special prize of the festival of student creativity "Russian student spring in Kazan"; 2010- Laureates of the 1st degree of the city competition of contemporary dances "Startinager - 2010"; Winners of the student creativity festival "Student Spring in Tuva - 2010"; Winners of the Grand Prix of the VIII Open Youth Theater Festival "White Elephant - 2010" in Kemerovo.
It is important to remember that a good organizer is not one who only works well himself, but one whose subordinates work well. The task of the leader is to be smart, to find people capable of doing a certain job, and to be able to check their work.
As organizations and tasks become more complex, leaders have to put in more effort to achieve results and improve the efficiency of their teams. To achieve high performance in the work of a team, a modern leader needs effective organizational skills, among which four groups are distinguished in the special literature:
¨ ability to form teams;
¨ acting as a team leader;
¨ the ability to improve the level of development of the team;
¨ the ability to overcome difficulties that hinder the effective work of the team.
Effective leadership involves people collaboratively coordinating resources, setting goals, proposing and supporting ideas, planning activities, and more. Teamwork allows you to open up huge new opportunities, a team approach - to solve problems together. Thus, more ideas are generated, innovative ability increases, and the opportunities for stressful situations to arise.
Organizing an efficiently working team is a complex and time-consuming process. The team lives its own business and emotional life. It cannot be created without effort, commitment, and trust. The organizing role of the leader is manifested, first of all, in the functions of coordination. Based on the goals and objectives of the organization, it is designed to ensure the coordinated and purposeful actions of the personnel subordinate to it.
The influence of the leader on the team begins with the selection and placement of personnel in various areas. The placement of personnel should help to reveal the personal abilities of workers, to ensure the growth of the efficiency of the aggregate work of the entire team.
In solving this problem, a large role belongs to the leader, his ability to take into account the individual abilities, interests and psychological characteristics of people when organizing their joint work. The leader must be able to analyze and take into account the motives of the behavior of team members, apply a differentiated approach to people, taking into account their attitude to positive examples and existing shortcomings, taking into account their personal inclinations, interests and psychology. The success of the management largely depends on how much the leader relies on the team, on their experience and knowledge, how much he supports and develops the business initiative.
On the efficiency of activities big influence has the established psychological climate in the team, which is understood as the nature of relations between people, the mood prevailing in the team, satisfaction of employees with the work performed, etc. The psychological climate of the team largely depends on the psychological compatibility of employees. Psychological compatibility is the ability of group members to work together, based on the optimal combination of their psychological properties. There are two types of psychological compatibility:
¨ psychophysiological, which implies a similarity in the direction of psychophysiological reactions, synchronization of the pace of mental activity of people;
¨ socio-psychological, which is a consequence of the optimal combination of types of human behavior and is based on interests, needs, value orientations, etc.
Different types of management activities are associated with different psychophysiological and socio-psychological compatibility.
The role of a leader in organizing a team largely depends on improving the style and methods of his leadership, on the leader's behavior, on the nature of his relationships with people. Numerous studies have shown that a leader is often hindered by the inability to cooperate with people effectively to perform his functions.
When building a team, you need to start by setting clear goals. In the development of the team as a whole and individual employees, both short-term and long-term prospects are important. Setting tasks for the team that require the active work of all members and associated with professional growth creates a favorable climate, unites the team, and makes it possible to reveal its potential in a new way.
The manager must be aware of the needs of his employees and have a clear program for building a team, as well as the sequence of passing through the stages of development. At the same time, it is important that the abilities of each person and the possibilities of using them are known; the organizational structure of the group corresponded to the task being performed; self-discipline is developed. It is necessary that each employee has an idea of the goals of joint activities.
As the teams develop, they go through a certain number of successive stages.
At the first stage, people are grinding in, they look closely at each other, determining their place in the team. There is practically no creative teamwork, and interaction takes place in a formal way. Therefore, at the first stage, the manager's organizational role is to unite the organization's personnel.
At the second stage, in the course of the competition for leadership, all sorts of groupings, disagreements arise, the strengths and weaknesses of people are manifested. The team is looking for ways to reach agreement and improve relationships. The role of the leader in this situation is to create conditions for overcoming conflicts as soon as possible, in managing these processes.
The third stage - experimentation - is characterized by the search for new methods of work. At this stage, a tendency towards experimentation appears, the potential of the team increases. The task of the leader is to enable the accumulated energy, abilities and resources of people to be used in a real increase in labor productivity.
At the fourth stage - the growth of efficiency - depending on specific tasks, management functions are transferred from one employee to another. The accumulated experience of successfully solving problems and using resources allows you to carry out work as efficiently as possible. Problems that arise are considered realistically, and solutions are creative.
The last, fifth stage - maturity - is characterized by the fact that the team demonstrates significant stable results of work and sets high standards of behavior. Strong ties are formed in the team, people are accepted and appreciated, relationships are mostly informal, interpersonal disagreements are quickly eliminated.
The main task of a manager is to help his employees successfully go through all stages of development on the path to maturity, to fully reveal their potential, to expand the boundaries of authority in the process of people performing their duties.
The analysis of the efficiency of the organizations carried out by specialists revealed some limitations that most often impede the effective work of the team.
The unsuitability of the leader. The leader is either not capable of his personal qualities, or does not want to use a collective approach, unite employees, set them up for effective methods work.
Unqualified employees. This is due to the imbalance in the functions of employees, the lack of a combination of professional and human qualities. For the effective functioning of the group, the following distribution of roles is proposed: "idea providers", "analysts", "directors", "planners", performing the role of a "deterrent" and several performers. A combination of roles is determined depending on the specifics of the team. In this case, it is allowed for one employee to combine several of the listed roles.
Non-constructive climate. The presence of people with different value attitudes and life plans. Lack of dedication to the tasks of the team and a high degree of mutual support, combined with concern for the well-being of individual members of the group.
Fuzzy goals. The lack of a clear vision of goals leads to insufficient coordination of personal and collective goals, the inability of leaders and team members to compromise. As a result, it is necessary to periodically adjust the goals set so that employees do not lose their understanding of the prospects for their activities and expected results.
Poor work results. If in a positive climate and effective leadership If it is not possible to obtain results that meet the needs of the organization, then such a team does not justify its existence. Improving the performance of the group contributes to the high self-esteem of team members and the growth of personal professional qualities, allows a person to feel their worth.
Ineffective working methods. Working methods must ensure an effective team decision-making process. Therefore, it is of great importance correct organization collection and presentation of information, relationships within and outside the team, the effectiveness of resource management, making correct and timely decisions.
Lack of openness and presence of confrontation. Free criticism, discussion of the strengths and weaknesses of the work done, existing disagreements should not violate business etiquette and cause confrontation. At night, muddy rivalry is productive, but there is a real danger of it escalating into conflict. At the same time, if a positive conflict can lead to a relaxation of tension, openness, improved relations and increased trust, then a negative conflict will create an atmosphere of mistrust and hostility. Special training is required, both for the staff and for the manager.
Lack of professionalism and culture of employees. Each manager wants to have strong employees with a high level of individual abilities in the team. Among the main characteristics of an employee are his ability to manage his emotions, be ready to express his opinion clearly, change his point of view under the influence of arguments, etc.
Low staff creativity. An indispensable condition for the development of an organization is the presence of creative abilities of employees and the ability to realize their creative potential, the ability to highlight and support interesting proposals and ideas, the ability to use the vitality and enthusiasm of people.
