In cultural studies and socio-pedagogical literature, the entire diversity of individual and social activity in the sphere of culture is characterized by the category “socio-cultural activity”, which denotes both various phenomena of social and cultural life, and special technologies. In this regard, it is necessary to more clearly imagine the reality that should become the subject of practical activity (and, above all, design) for a wide range of professions with a socio-cultural and socio-pedagogical orientation.
To begin with, let’s try to separate the content of the original concepts “society” and “culture”, consider them as relatively autonomous realities from each other, assigning to them the meaning that is traditional for them and reflects the effective and procedural aspects of these phenomena.
Society as a phenomenon, an object of analysis and an object of design can be represented in the form of basic social subjects (social groups, organizations, institutions), which are universal, typical and stable social formations, as well as processes of “social mechanics”, i.e. social interactions, relationships. The initial characteristics when analyzing sociological problems are status and social role.
Culture as a result is a set of traditions, norms, values, meanings, ideas, sign systems characteristic of social community(in the broad sense of the word - including ethnicity, nation, society) and performing the functions of social orientation, ensuring belonging, consolidation of human communities, individual self-determination. In procedural terms, culture is the activity (of individuals, social groups, institutions, society) in various spheres of existence and consciousness, which is a specifically human way of transforming natural inclinations and capabilities; it is the unity of objectification (production) and deobjectification (consumption) - the creation of traditions, norms, values, ideas and their development, storage, translation, transformation into personal traits personality.
“Social” and “cultural” are dissolved in each other, because in any social phenomenon there is always a person as a bearer of social roles and cultural values. It is the person who is the primary “atom” of social structures, relationships and cultural processes.
Representing a unity that is difficult to overcome even at the level of theoretical analysis, the categories “society” and “culture” at the same time designate within the framework of one system two poles with oppositional functions and meanings:
Society is an alienation within the framework of a social role from one’s own nature and the nature of one’s “national world.” Culture is growing into national peace, formed by language, legends, national psychology.
The essence of society is to make a person social, providing him with a set of necessary roles and technologies for their implementation. The essence of culture is to promote the formation of a spiritually holistic personality, overcoming the social-role limitations of a person.
Social activity is a goal-oriented activity, the content of which is determined by the role. Cultural activity is a meaning- and value-oriented activity.
Taking into account the conventionality of the oppositions outlined above, their predominantly theoretical-cognitive nature, let us try, on the one hand, to find the commonality that connects these concepts-phenomena; on the other hand, in their combination we will discover the lack of self-sufficiency of each of them, which will explain the functional-semantic relationship of these categories.
The starting point in this case will be culture, or more precisely, its procedural level. It is the view of culture as a process of creation, storage, development, transmission of values, norms, lifestyles, as well as materialized results of cultural activity, firstly, that makes it necessary to use the category “activity”; secondly, it actualizes and clarifies the category of “social”, because culture as a process “lives” in the activities of various social subjects. In isolation from them, culture “freezes” in various subject forms that only record the values, traditions, rituals, and legends of previous historical eras, without making them a fact of today's cultural processes.
So, the relationship between the social and cultural, mediated by the activities of various subjects, gives rise to a special reality, captured by the concept of “socio-cultural activity”.
This can be represented schematically as follows:
SOCIETY SKD CULTURE
The relationship of the concepts that make up the category “socio-cultural activity” is of a complementary nature, which allows us to classify it as such terminological constructs as, for example, “liberal democratic society”, where the first part characterizes the specificity of values, and the second denotes the form of government. In our case, “social” indicates the subject of activity, and “cultural” indicates the quality and scope of his activity.
An individual, a social group or community, a region, a society, or humanity as a whole can be considered as subjects of cultural activity. Each of these levels can be characterized primarily in the context of sociological or cultural issues:
| Social aspect | Cultural aspect |
| 1. Personality as a bearer of social roles, relationships, actions, problems. 2. Social community (association, organization, movement), as a social institution, subject of social relations. 3. The region as an institutional and administrative-territorial integrity. 4.Society as a complex system functioning and interaction of various social institutions. 5. Humanity as a set of institutionalized nations, peoples, and ethnic groups. | 1. Personality as a bearer of “cultural” qualities, a subject of cultural creativity. 2. Social community as a set of individuals united by common goals and values, as a subject of cultural self-development. 3. The region as a set of socio-cultural forces, groups, movements, as a bearer of cultural potential (including historical, cultural and ethnocultural identity, landscape features, traditions, legends, historical and cultural monuments. 4. Society (nation) as a bearer of spiritual integrity and historical and cultural identity 5. Humanity as a set of national cultures. |
At each level, the development and functioning of the subject is subject to its own laws. However, their autonomy is relative - the patterns of different levels interact and complement each other. A subject of a more complex organization “removes” the specificity of the previous level, which becomes an element of a new systemic education. For example, personal differences are neglected when analyzing socio-cultural and ethnocultural groups and communities, the region as an integral cultural entity. The typicality and specificity of ethnic and social communities, as well as territorial individuality, are “removed” in national culture, which consists of these elements, but is essentially a supra-individual (and supra-ethnic) formation, living according to its own laws, not reducible to the laws of functioning of its constituent individuals, ethnic groups, and regions. On the other hand, a qualitative change in the elements of any level affects the state of the entire “culture - society” system.
So the pole social in the context of the analyzed concept, it is a designation of a subject who acts as a bearer of certain values and carries out activities in various spheres of cultural life to realize them. At the intersection point social And cultural a new meaning and a new quality are born, which is not contained in each of these concepts-phenomena considered in isolation from each other. Culture in the context of society is understood not only as the objectivity of the “historically frozen”, but also the subjectivity of what is actually perceived, experienced and practically implemented, i.e. as a personalistic reality.
The integrity and unity of subjects as carriers of culture (i.e. subjects of socio-cultural activity) is ensured not so much by their institutionality as by the presence of basic values (objects of identification), preserving the stability of the community as a systemic entity, as well as tension energy field, born in opposition of a given subject (socio-cultural or ethnic group, nation, society) to other values, norms, ideals, depending on the degree of their reference (i.e. the measure of their significance, subjectively perceived value) and allowing one to realize the difference, dissimilarity and self-identity of “my” community in its cultural dimension. In the process of consolidation of individuals who make up a socio-cultural community at any level, a negative attitude towards “others” is as natural and logical as a positive attitude towards “our own”. The polarity of “friend or foe” always gives rise to a special energetic tension, which unites the community “we” and at the same time forms a socio-psychological opposition, opposition strangers- ideas, values, lifestyle.
Category Analysis from the point of view of the substantive complementarity of its components, it reveals new theoretical, epistemological and applied possibilities of this concept and allows us to more clearly define the boundaries of its competence. On the one hand, cultural norms and values, which are reproduced, preserved and modified by the subject of culture, determine the meaning of the existence of society. With another - sociality not only captures the bearer - the subject of cultural activity, but gives the phenomenon cultural content certainty. The social subject as a bearer of culture, firstly, always has a limited time (in contrast to culture, the “body” of which extends into the infinity of the past and includes a multivariate future); Secondly, socialistь gives the culture uniqueness in space here and now. Culture in the actuality of the present always presupposes the existence of a very specific subject who preserves legends, traditions, norms, develops them and only develops in them.
Thus, in the category socio-cultural activities the first component denotes the bearer of cultural properties and the subject of activity, and the second characterizes the scope and quality of his activity. Therefore, socio-cultural activity can be defined as the activity social subject(personality, community, social institution, ethnic group, nation), the essence and content of which are the processes of creation, preservation, transmission, mastery and development of traditions, values and norms of culture - artistic, historical, spiritual and moral, environmental, political, etc. .
Implemented above limitation socio-cultural activity makes it possible to more accurately determine the object area of socio-cultural design, which is in many ways common to both professions of cultural and socio-pedagogical orientation (and even more precisely - those directions and types professional activity, which take shape within cultural studies and leisure studies and the essence of which is best reflected by the term socio-cultural pedagogy).
The fact is that traditionally (within the framework of cultural and educational work) such an object was considered primarily an individual, and the theory itself (or those developments that claimed such a status) and guidelines fit into the framework of the individual psychological concept, according to which the process of personal development is determined mainly by its internal logic and the corresponding methods of influencing the subject of the pedagogical process.
Within the framework of the cultural paradigm, such an approach sharply limits the possibilities and space of socio-pedagogical regulation. Systematically building an object of sociocultural design (common, as already noted, for applied cultural studies and social pedagogy), we include in it those levels that were not previously considered as a subject of study and regulation, namely: the region as a set of sociocultural forces, groups, movements and national culture as a phenomenon characterized by signs of subjectivity, integrity, consistency and mechanisms of self-development.
The idea of socio-cultural activity as a complex and multi-level education allows us to more clearly define the problem field that defines the functions of a specialist working in the socio-cultural sphere, and, consequently, the content of his project activities. The subject area to be studied and regulated within the framework of the cultural approach includes patterns, mechanisms and conditions for optimizing cultural processes at the levels indicated above - national (within the framework of state cultural policy); regional (in the activities of territorial cultural authorities and cultural and leisure institutions); at the level of the socio-cultural community (in the form of direct management of the processes of formation and development of amateur groups, associations, clubs, associations, movements). It is at these levels that the regulation of cultural processes is possible and most effective - due to the socio-legal certainty of both the object and the subject of regulation.
Here we come to the second aspect of the content of socio-cultural activity - as a way of performing certain professional functions, i.e. as a professional activity that pursues the achievement of specific goals and involves the solution of certain (in particular, cultural, socio-pedagogical) tasks. This activity can be both an object of analysis (from the standpoint of its values, goals, functions) and a subject of practical mastery - in the form of mastering various socio-cultural technologies (for example, directing mass spectacles and performances, screenwriting, technology for the development and implementation of social cultural programs and socio-pedagogical games, negotiation techniques and mediation activities, marketing and management in the sociocultural sphere, etc.).
For professions with a cultural orientation, regulation and socio-cultural design are subject to processes and phenomena characteristic of the culture of society as a whole; as well as the cultural life of a particular region - here the subject of regulation (and programming) are various socio-cultural entities (associations, organizations, institutions), and the goal is to create conditions for the self-development of cultural life, support for priority areas and types of cultural activities that have social and personal significance, contributing to the optimization of artistic, spiritual and moral, political life society, the development of historical, ecological culture of man.
The object of the project activity of a professional with a social and pedagogical orientation is also a multi-level phenomenon, including as its components not only an individual, but also a community and a region. This, in turn, requires different methodological emphasis in the development of technological techniques and methods of practical activity. The ideological basis of this group of professions should be a cultural-historical concept, within the framework of which the development of an individual is determined and carried out by its socio-cultural context, the influence of a historically developing culture. Within the framework of this concept, the object of regulation is not the individual, but the socio-cultural environment, and the subject is the optimization of socio-cultural life, space human habitation.
It should be noted that cultural and socio-pedagogical issues have an area of intersection, i.e. general subject space. Even at the regional level, the well-established principle of problem-goal orientation, expressed in the focus of socio-cultural programs on solving the problems of specific social groups, gives design technology a pronounced socio-pedagogical character. Moreover, both within the framework of cultural studies professions and within the framework of socio-pedagogical technologies, various types of socio-cultural activities are considered as a means of solving these problems.
The same principle is fundamental in foreign concepts of social pedagogy, which, already at the stage of training specialists, focuses them on understanding the problems of individuals and social groups, the causes of human social dysfunction, on mastering various techniques for solving these problems, including means of socio-cultural activities, methods formation of optimal for the individual habitat(art pedagogy, bibliopedagogy, play pedagogy, etc.).
So the category socio-cultural activities is basic, denoting a range of phenomena and an area of technology common to the professions of applied cultural studies and social pedagogy. The difference exists only in emphasis: in one case, social (and socio-psychological) issues are intensified, in the other - cultural ones. This is revealed in the specificity of the object, tasks and functions of specialists of both socio-pedagogical and cultural profiles, which we will consider in subsequent sections of the manual.
1.4. Culture as an AREA OF PROJECT ACTIVITY (content of the concept)
The technology for developing socio-cultural projects and programs presupposes a preliminary determination of the design boundaries - just as during the construction of a canal, its boundaries are at the same time the conditions for its existence - if they are not there, the meaning of the canal is lost.
In its phenomenological manifestations, culture does not have clearly defined boundaries in space and time. Therefore, let's start with a general definition of the concept culture, in order to then isolate that part of it that can and should be considered as a design object.
There are a huge number of definitions of culture in the literature, both those that claim scientific rigor and those that are ambiguous, figurative(for example, the culture of management, production, agriculture, the culture of shame, guilt, conscience, the culture of success and comfort, women's culture, etc.). If we turn to the original meaning of this word, then it defines a method, a process of “cultivation”, “development”, “education” of human nature and at the same time the result of this process, embodied in the products of material and spiritual production, in the system of norms, values, and human relations to oneself, another person, nature, society, humanity, in the level of personal perfection, development of human creative powers and abilities. In other words, culture is the material and spiritual environment created by man, a way of transforming his natural inclinations and capabilities, a condition for the development of the creative abilities of the individual and the humanization of society. This definition of culture captures, first of all, the procedural and productive components of human extra-natural existence.
The essence of culture clarifies its understanding as a specific form of concentration of the ideal-spiritual energy of man and humanity, a special qualitative “dimension” of all spheres of human life, as a set of “design” methods and results of the development and transformation of nature, society and man himself. Design as a fundamental characteristic of culture, it can be traced at various levels and “slices” of its functioning: procedural (both institutional and non-institutional), subject-resultative, value-normative. Let's consider these facets and cross-sections of culture in the context of design tasks.
1. Culture as a process (and quality) human activity. At this level, culture appears in the forms of individual and social activity- in the activities of individuals, social groups, institutions, society as a whole in various spheres of life and consciousness. This activity includes the production (or creation) of values, traditions, norms, ideas, their development (or consumption), storage, protection, and broadcast. It is carried out in both institutional and non-institutional forms.
The essence of cultural activity lies in its “improving” nature of all components of human existence. In the process of cultural activity, a person strives for the perfect quality of everything that becomes the subject of his contemplation, experience, thinking, communication or behavior. In this sense, we can talk about the culture of production, the culture of management, land use, the culture of interpersonal relations, etc.
Highest form cultural activity is art (including traditional folk art), which sets the example and “bar” for cultural activity as a whole. That is why this category is used both to designate a special sphere of spiritual production (the highest, perfect and in this sense the most “cultural”), and to indicate the quality of cultural activity, the “technique” of approaching the ideal: the art of rhetoric, communication, love, the art of democracy , freedom, etc.
The peculiarity of culture as a process of human activity is that culture here responsible not so much for What, how much for How. In this regard, it should be noted that the process of cultural activity, characterized mainly by its technological qualities, can be indifferent in its results. It is possible to bring the technology of deception to the highest culture ( art fraudster), destruction of a person (for example, oriental techniques in the hands of a criminal). Even art itself, troubled by the problem How, turns form into an end in itself and becomes indifferent to its content ( art for art's sake). This trend is clearly visible in the twentieth century, which shows us a re-emphasis of all productive practices of society from the question What to the question How. The emergence of avant-gardeism and formalist movements of art (cubism, futurism, abstract art, expressionism, etc.) can be considered the result and evidence of such a re-emphasis. Therefore, the semantic, substantive side of cultural activity is determined by other levels (or sections) of culture, and above all by its spiritual and moral foundations.
As a self-developing system, culture is an integral unity, interconnected, interdependent existence of its official And unofficial layers (flows), their semantic interaction and complementarity. Therefore, considering culture as a process, it is necessary to distinguish in this phenomenon two relatively independent layers that perform specific functions in the general dynamics of the cultural system: institutional And non-institutional. The first is represented by cultural values and norms protected by a system of social institutions and state ideology. Non-institutional culture functions in various types and forms of public initiative (associations, clubs, associations, movements, etc.).
The natural and free development of non-institutional layers of culture (primarily the amateur movement in all its varieties and modifications, freedom of cultural self-determination of individuals and social groups) is the leading condition for self-regulation and self-development of culture as a whole. Historical experience shows that authoritarian monological models of culture inevitably showed a tendency towards stagnation, regression, and the transformation of culture into one of the appendages of a totalitarian state.
The diversity of the non-institutional layer of socio-cultural life is expressed in the form of a variety of organizational and substantive forms of amateur activity of citizens, which is ensured by the legally guaranteed right to freely create “from below” any organizational structures (clubs of interests, associations, fronts, parties, movements, foundations, etc. ) regardless of their ideological orientation. This right is extremely important not only for personal self-determination and development, but also for the fate of culture as a whole, which is potentially endless and in each initial state contains different options for its future (multiplicity of positions, opinions, ways of life, etc. ), represented in the least institutionalized formations - in the forms of amateur movements. Consequently, for the full development of culture, all “subcultural” formations, regardless of the degree of their compliance with the value system of official ideology and culture, must have equal conditions for free development - otherwise the culture breaks up (both vertically and horizontally) into a number of independent and subcultures that are not in contact or even conflict with each other. Deterrent mechanisms and sanctions official, state culture, standardization and regulation, suppression and blocking of social initiatives gives rise to extremism, protest forms of behavior, reorients social activity to anticultural, antisocial, and sometimes illegal forms of behavior (alcoholism, drug addiction, unconventional lifestyles, crime, etc.), which ultimately leads to a crisis of culture as an integral system.
Thus, dialogical institutional and non-institutional cultural processes is one of the main conditions for the self-development of culture and its most essential characteristic. Dialogue here can be considered as a meaningful and mutually developing pairing of different values, worldviews, ways of life, ways of life, which is possible provided that they are “culturally” equal. According to M.M. Bakhtin, one meaning, one system of values “reveals its depths” by meeting and coming into contact with another meaning, other values. Dialogue overcomes the isolation and one-sidedness of each of these positions individually. Only if culture organically includes various positions as equivalent, does it become a person’s self-activity, a space for searching for the meaning of life and self-realization of the individual, a way of cultivating the human in a person. It is on the border of two worlds: official(institutional) and unofficial(non-institutional or “alternative”, “parallel”, “second”, “other”) culture, new opportunities and prospects for the development of cultural life are discovered. This means that the main condition for the self-development of culture is a meaningful dialogue between its institutional and non-institutional layers, their functional and semantic complementarity, which “removes” the limitations and lack of self-sufficiency of each of them, maintains the balance of variability and stability of culture as an integral system. Existing in isolation or coming into conflict with each other, each of these cultures is doomed to stagnation and regression - one due to the conservatism of values and institutions, the predominance of the conservation vector, the other due to ignoring traditional, basic cultural values, norms, and technologies. The functional and semantic complementarity of various levels and components of culture becomes possible under equal socio-legal conditions and the availability of cultural infrastructure resources to all subjects of sociocultural life. This provision should be implemented in the form of competitive selection and financing of programs offered by both government agencies and other structures (public associations, etc.), legal entities and individuals.
In the context of problems of sociocultural design, culture at the procedural level will be considered as a certain system of values and the quality of human activity in various spheres of social practice and public consciousness: in art (or in the field artistic culture), in politics (in the field of political culture), ecology (ecological culture), etc. Analysis of this cross-section of culture allows us to solve two fundamental problems:
a) determine the priority areas of project activity (and the corresponding types of socio-cultural activity of individuals, groups, social institutions in the field of artistic, environmental, political, spiritual and moral culture);
b) identify the social basis of design decisions, i.e. priority categories and social groups of the population that can be considered as a real or potential audience for projects.
Design decisions at this level of analysis of the cultural phenomenon involve: the search for optimal mechanisms for regulating socio-cultural processes at the level of the individual, social group, ethnocultural community, region, society as a whole; creating conditions for optimizing the formation and development of various cultural subjects (amateur groups, associations, clubs, associations, movements); development of methodological foundations for state cultural policy; support for priority areas and types of cultural activities that have social and personal significance, contributing to the development of artistic, spiritual, moral, historical, environmental cultural personality, the creation of a spiritually rich “cultural space” as a natural environment for human formation and development.
2. Material level of culture allows us to see it as a set of objects (products) of cultural activity - material carriers and exponents of spiritual essence - values, ideas, symbols, etc. Products of cultural activity are a materialized embodiment (vision) of an ideal, a materialized process of human striving for perfection, its “frozen” result.
Rootedness in the objective diversity of the world is the most important condition personal development, development and improvement of the active nature of man. The fact is that a cultural object not only captures a person’s idea of perfect shape, but also carries “traces” of the technology to achieve it. The cultural significance of the objective world lies in the fact that a person is spiritually, practically, actively deobjectifies cultural item, appropriating an idea of the ideal form and mastering the ways to achieve it. This appropriation is not always accompanied by corresponding theoretical reflection, but it has a positive effect on the development of a person’s active essence and the improvement of a person’s creative and practical nature.
Cultures occupy a special place in the objective world artistic results, in which the ideal essence of human activity as activity is expressed and objectified cultural. This world has a huge impact on human nature. Optimal formation and development of personality becomes possible only if a person has the necessary minimum of “cultural objectivity,” especially in the early stages of ontogenesis. And the process of human communication (communication) also becomes cultural only when it is mediated ideal cultural products (ethical norms and values, ideas about ideal love, friendship, etc.).
If the process of cultural activity, as noted, emphasizes the question How, then the objective world of culture helps a person answer the question What, i.e. orients to a certain extent the process of cultural activity in its content and target aspect. But for this, in the process of perception, it is necessary to present an object of culture as the result of the human desire for perfection, to see its multifunctional nature, to understand the functions things in living culture, its semantic shells: the own functions of a cultural object (for example, a chair - to sit, a pen - to write, etc.), its optional and social functions (the thing as a symbol of wealth, belonging, etc.), as well as the cultural and symbolic purpose of the thing that has become an exhibit.
In the context of socio-cultural design, the subject level of culture turns out to be decisive in the process of developing and implementing programs related to:
WITH organization of museum affairs(restoration, construction, museumification of objects of historical and cultural significance);
- with the development of local history activities, including recording sources that are in danger of being lost (including personal documents, memories, microtoponymy), ensuring the preservation of the cultural and historical landscape, transferring the entire complex of knowledge to generations entering life;
– preservation of historical and cultural monuments(search, acquisition, documentation, study, restoration and storage of cultural products).
However, in this design plane there are problems of a methodological and technological nature that do not yet have a clear solution.
The first problem is related to the museumification of cultural objects and arises as a contradiction between the objective and ideal essence of cultural phenomena (its particular manifestation is the choice of priorities for the restoration of cultural objects or their conservation with maximum preservation of authenticity). As is known, each value dominant has its own institutions: a temple is an institution of spiritual culture and spiritual service; palace - the living quarters of a certain person (albeit a ceremonial one); theater is an institution of secular culture and public building; museum - historical memory of a social collective, etc. If the functions of an institution are modified ( naturally or as a result of the implementation of a corresponding project), then it falls out of the living fabric of cultural life.
The second problem arises from a contradiction in the system “ cultural object - exhibit" An exhibit is just a “sign” of a cultural object that previously existed in culture directly and directly, it is a thing extracted from the flow of time, the sphere of spirit and placed in the eternal present - a thing turned into information, deprived of its functions that it performed within human life.
One way to overcome this contradiction could be personification- an exhibit, event, environment that concentrates the meaning of the event, gives greater meaning and completeness to its experience, turns the environment into place And time contact with cultural values. This is especially important to take into account when developing programs for the development of tourism, museumification of objects and monuments of history and culture.
However objective world culture does not provide the necessary and sufficient minimum cultural context human development. Moreover, the space of this world is largely filled with forms pseudocultures(i.e. understated, adapted, replicated examples of genuine, “high” culture, which play the role of material for primary cultivation) and even anticulture. Undoubtedly, in the general cultural dynamics these forms can also play positive meaning, ensuring the self-development of cultural processes, however, in the context of the cultural formation of an individual person, the “limitation” of his existence only by the objective world becomes the limit of his personal development.
For normal development and self-realization, a person needs two worlds, constituting the environment of his cultural habitat, his spiritual home:
A) the objective world of culture, objectifying the human desire for ideal, perfection;
b) ideal world spiritual essences and images of culture, liberated and “purified” from objectivity.
3. Consequently, culture can also be represented as a set of characteristics characteristic of a social community values, norms, meanings, ideals, recorded in cultural texts - stories, customs, myths, legends, traditions.
This layer of culture constitutes its pinnacle, the spiritual and moral vertical. The value-oriented, spiritual level of culture determines life values and ideals (both personal and social), social orientations and standards of behavior, individual self-determination (its understanding of the meaning of life, the idea of honor and dignity, etc.). It ensures the consolidation of human communities, social control (both external prohibitions carried out with the help of social institutions, and internal “controllers”, whose function is performed by the moral experience of responsibility and duty, conscience and guilt). At this level, culture contains not only “gene” information that ensures the self-identity and integrity of society, but also a unique immune matrix, which allows the subject to identify himself with a certain value system and at the same time recognize the image and elements of other cultures. Value deregistration culture causes an identity crisis and spiritually disorients a person.
When analyzing cultural systems, the value-orientation slice of cultural existence is fixed by such a concept as national-cultural mentality. The key category of analysis and understanding of the specifics of culture here is ideal as a universal, all-determining and all-encompassing unit of a cultural system, manifested in various forms and at various levels of human existence and society. The axiological layer of the ideal is associated with religion, philosophy, and morality (they create the ideal, verbalize it in the form of values, norms, and give it intentionality). The ontological cross-section of the existence of an ideal is a system of basic values, determined by the ideal and “living” in language, art, public morality, cultural norms, traditions, legends. The praxeological level is provided by ideology, politics, education, which institutionalize the ideal and create conditions for its practical implementation.
The nature of the ideal is determined and determines the spiritual uniqueness of a culture. Thus, cultures with dominance theocentric model create an “otherworldly” ideal of “bliss in the afterlife”, which, in turn, determines the meaning and manifestations of human existence. Sociocentric cultural systems generate the ideal of the moral structure of social existence, a perfect society in which only a person can achieve his utmost perfection. Anthropocentric cultural models gravitate towards ideals of a universal moral nature (for example, the Orthodox ideal of a holistic person, combining individuality and conciliarity, bodily perfection and higher spiritual development). The moral social ideal finds its fullest expression in personified images of culture and history.
In each culture, the ideal includes these components to varying degrees of expression, with one dominant. And the inconsistency of the ideal (its crisis) arises as an internal discrepancy between these components. The contradiction of the ideal itself (the value incompatibility of its components) is a factor provoking social conflicts and determining the general crisis of culture.
Ideal world of culture- this is its spiritual foundation, which has a transpersonal nature, rising above man, he is the focus of the universality of being, field of meanings, allowing each person to make a choice in conditions of fundamental limitations of individual consciousness. Categories-values fix a certain ideal state of man and society, taken beyond the boundaries of real existence and setting the ideological and ontological perspective of life, they guard culture as a whole as a transpersonal phenomenon, forcing a person to self-determinate by renouncing individual aspirations, to understand and re-understand yourself, your meaning in life, take your place in the world of culture. This world is not given to a person practically, in the form of obvious objectivity; it requires spiritual efforts to understand and reinterpret meanings, ideas, symbols. The empirical projection of this world onto individual consciousness is carried out in the experience of duty, conscience, guilt, shame, in the forms of the acquired meaning of life, faith and hope. The relevance of this world increases sharply during critical periods of a person’s life, when the meaning of life is lost, the discrepancy between what is and what is, what is finite and infinite is tragically experienced.
The specificity of the ideal determines not only the spiritual uniqueness of a culture, but also its general orientation, the dominant orientation towards preservation or change. According to this criterion, all cultures can be divided into two types: traditional cultures, which are characterized by the predominance of conservation mechanisms (or canonical, “primitive”); innovative cultures- with a predominance of change mechanisms.
Cultures of the first type are focused on the past: their ideal is to preserve and neutralize changes, to maintain the ideal state that is recorded in legends. These cultures are static, self-sufficient, non-dialogue, the whole dominates in them, and the role of the individual is reduced to a minimum.
Cultures of the second type are focused on today and tomorrow. They bring tension and instability into social life. Self-determination of individuals and social groups is carried out through negation and opposition to their ancestors. The personality here is deprived of protection, experiences loneliness, is “excommunicated” from the whole, the common.
These are extreme types of cultural systems. In reality, in any culture the processes of preservation and change are present, but to varying degrees of severity. Moreover, conservation processes almost always prevail over change. The best option cultural development presupposes a harmonious combination of these trends, their complementarity in accordance with the specifics of national culture.
Procedural, subject And ideal“worlds of culture” together determine the level of human development and at the same time a new round of cultural development of society, humanity, for man is not only a creation, but also a creator of culture. This level depends on cultural environment human habitation, on the content and quality of his objective and spiritual environment, which a person masters in the process of cultural activity.
The levels and sections of culture described above are, in our opinion, necessary and sufficient for solving research problems of a general methodological and theoretical nature. However, technological problems of socio-cultural design (and cultural policy too) require an analysis of culture in two more dimensions: industry(infrastructure) and regional(or territorial).
The subjects of socio-cultural activities include numerous socio-cultural institutions, institutions and organizations, with the help of which the accumulation and transmission (transfer) of cultural experience, the development of cultural forms of social life, and the acquisition of a huge amount of cultural knowledge are carried out.
“Socio-cultural institutions” is one of the key concepts of the course. In the broadest sense, it refers to any of the state, public entities (centers, complexes, single or multidisciplinary organizations, institutions, etc.) that have social significance, purposefulness, organized structure, and sufficient temporary stability.
First of all, it is necessary to emphasize the wide range of the term “socio-cultural institution”. It denotes the family, state and municipal structures, industrial associations and enterprises, non-governmental public and commercial organizations, the public education system, the media and numerous special institutions of a social and cultural profile: theaters, museums, concert and exhibition halls, circuses and other concerts. entertainment institutions, clubs and libraries, sports and recreational facilities, resort institutions, etc.
Each of these institutions gives the joint socio-cultural activities of people qualitative certainty and significance both for an individual and for groups of people, for society as a whole.
The essence of a socio-cultural institution is that it unites people in an organized manner for joint activities to meet the socio-cultural needs of a person or solve specific socio-cultural problems. Such a holistic education, arising and functioning, as a rule, in the sphere of leisure, is called a socio-cultural institution.
However, there is an internal gradation among socio-cultural institutions. Some of them are officially established and organizationally formalized (for example, the general education system, the system of special, vocational education, a network of clubs, libraries and other cultural and leisure institutions), have social significance and perform their functions on a scale of the whole society, in a broad socio-cultural context. Others are established specifically, and take shape gradually in the process of long-term joint socio-cultural activity, often constituting an entire historical era. These, for example, include numerous informal associations and leisure communities that arise at the group, local level, traditional holidays, ceremonies, rituals and other unique socio-cultural stereotypical forms. They are voluntarily elected by one or another socio-cultural group: children, adolescents, youth, residents of a microdistrict, students, the military, etc.
Thus, it is wrong to divide the mass of both officially “legalized” and spontaneously formed social institutions into either only social or only cultural. At their core, they are both social and cultural structures.
In the modern process of development and strengthening of cooperation between numerous communities and structures of the socio-cultural sphere, two trends can be identified. On the one hand, each socio-cultural institution, based on its profile and character, strives to maximize its creative and commercial capabilities, on the other hand, their joint, concerted and coordinated actions are strengthened on the basis of common, coinciding functions of socio-cultural activity.
The audience of cultural and leisure institutions, institutions and organizations is the object of socio-cultural activities. An audience is a temporary community of people that arises in connection with a specific source of information. She enters into certain relationships with him and, on this basis, acquires specific (audience) interests that make it possible to distinguish her from other communities of people. The relationship between the audience of a cultural and leisure institution and the source of information is constantly developing, changing, acquiring new forms, and can be interrupted and renewed. Therefore, for the audience of cultural and leisure institutions, not only the content of information, but also its medium acquires value.
The essence of the concept of “audience of a cultural and leisure institution” is that it reflects not just some social or socio-psychological community of people, but also the relationship with the source of information.
We can talk about mass, group, and individual objects of cultural and leisure activities. Differentiation of the object of cultural and leisure activities occurs taking into account specifically expressed interests, needs, and value orientations. The audience of cultural and leisure institutions is characterized by three main components - preparedness, predisposition and activity. She can be calm and excited, interested and indifferent, benevolent and unfriendly, trusting and wary, constant and episodic.
The state of the audience of cultural and leisure institutions is determined primarily by the system of social and spiritual life of people who are spectators and listeners of cultural and leisure programs.
The state of the audience can be classified into the following types:
state of readiness, that is, a prepared or unprepared audience;
state of interest;
state of activity.
The ability of cultural specialists not only to take into account the state of the audience, but also to shape it through targeted influence plays an important role in the organization of cultural and leisure programs.
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TO subjects Socio-cultural activities include numerous socio-cultural institutions, institutions and organizations, with the help of which, directly or indirectly, the accumulation and transmission (transfer) of cultural experience, the development of cultural forms of social life, and the acquisition of a huge amount of cultural knowledge are carried out. Classification of subjects is made according to a number of typological characteristics - territorial, sectoral, and by type of affiliation (property). “Socio-cultural institutions” In the broadest sense, it refers to any of the state, public entities (centers, complexes, single or multidisciplinary organizations, institutions, etc.) that have social significance, purposefulness, organized structure, and sufficient temporary stability .
It denotes the family, state and municipal structures, industrial associations and enterprises, non-governmental public and commercial organizations, the public education system, the media and numerous special socio-cultural institutions: theaters, museums, etc.
The subject of SKD presupposes the presence of a person or group of persons of institutions engaged in organizing leisure activities various groups population.
According to the forms of affiliation, one can qualify:
1. State social and cultural institutions, organizations and enterprises.
2. Cooperative, joint-stock institutions.
3. Private and individual, family.
4. Mixed.
In addition, the subjects of SKD include:
a) a personality, which is considered in 2 aspects: 1. as a type of person that meets the requirements of society, its value norms, standards and the totality of its inherent forms; 2. As a bearer of certain social characteristics, customs, traditions inherent in the society in which this person lives.
b) social institutions, which, according to their functional target orientation, are divided into 2 levels:
1.normative level (considered as historically developed in society, a set of certain cultural moral and ethical norms, traditions, customs united by one goal - language, education, folklore, family, science, literature, art);
2.institutional level (which includes enterprises, institutions, departments performing socio-cultural activities within the framework of leisure and sports).
Socio-cultural institutions differ by role groups:
1. Engaged in the production of spiritual values: ideology, politics, law, public administration, science, religion, education, language, literature, architecture, art. amateur activities, collecting.
2. Engaged in communication and transmission of spiritual values.
3. Engaged in organizing informal creative activities of the family, cultural institutions, social movements, using such forms as mass holidays, rituals, festivities, folklore, folk art.
The audience of cultural and leisure institutions, institutions and organizations is the object of socio-cultural activities. An audience is a temporary community of people that arises in connection with a specific source of information.
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