Modern educational trends require that education in schools be aimed at practical activities, the development and implementation of students’ own projects and contribute to the achievement of various learning outcomes.

In order to meet these requirements, the “Unique Schools” project was created in the Perm region. As part of this project, innovative schools are being opened in which educational programs involve interaction with various enterprises, universities, and institutions of secondary vocational education.

As an example, we can imagine school No. 129 of an engineering and technological orientation, or “Technoschool”. Training in which will increase students’ interest in engineering and technical specialties and will help develop future specialists for enterprises participating in the innovative rocket engine manufacturing cluster. The task of school No. 32 is to organize the educational process in a “full day” mode, combining sports and educational processes.

Along with new unique schools, “Technological school”, “IT school”, cooperation between schools and partner enterprises interested in the development of technological education and engineering creativity of schoolchildren can be implemented on the basis of centers for youth innovative creativity (YIC).

In this regard, on the basis of the MAOU “Secondary School No. 37”, a project was developed to create a CMIT. Based on the Regulations, CMIT carries out its activities together with students, subject teachers, class teachers, social partners, clubs and circles of the educational institution, in contact with other educational institutions focused on innovative creative activities.

The main goals of CMIT:

Supporting innovative creativity of children and youth, including in order to increase the level of professional readiness;

Formation of curiosity and creative thinking; stimulating the generation of innovative ideas and developments; children's initiatives in various spheres of life; increasing interest in research in the field of new technologies;

Ensuring the implementation of the rights of schoolchildren to participate in school management, increasing the prestige of education; instilling pride in the educational institution and future profession;

Expanding and strengthening the traditions of school life;

Formation of patriotism, civil and moral position, physical and spiritual development;

Promotion of health, formation of a general culture and healthy lifestyle of adolescents and promotion of a healthy lifestyle and prevention of antisocial phenomena in the school environment;

Promoting the development of social maturity, independence, ability for self-organization and self-development in adolescents.

To achieve these goals, it is necessary to implement the following tasks:

Providing opportunities for children and youth to realize their interests and capabilities, including in scientific and technical creativity;

Informing schoolchildren about new technologies, the development of areas of scientific and technical activity; achievements of modern science and technology;

Organization of career guidance activities;

Creating conditions for the development and implementation of creative student projects aimed at creating innovative products;

Organization of creative workshops and clubs.

Key areas of activity of CMIT:

1) Organization of the activities of clubs, creative associations, innovative practices aimed at organizing leisure activities that meet the needs of students and youth;

2) Organization of mass youth cultural events for young people, involvement in the competitive movement;

3) Organization of summer and year-round recreation for teenagers and youth;

4) Promoting the development of student entrepreneurship.

For teachers of educational institutions of the Perm Territory with the assistance of scientific consultant Lyubov Anatolyevna Metlyakova, Ph.D., Associate Professor of the Department of Social Pedagogy of PSUGPU from 10.20.2016 to 11.03.2016. an educational module of the program of additional professional education was developed and implemented: “Effective practices of professional self-determination of students within the framework of the center for youth innovative creativity.”

The purpose of the seminar was to create conditions for the exchange of experience and familiarization with the technologies of professional self-determination of students through the organization of creative activities (using the example of the activities of CMIT). The seminar consisted of a theoretical part, which consisted of presenting modern approaches to career guidance issues, including regulatory and legal materials; organizational and pedagogical conditions for supporting professional self-determination. The second part of the seminar was practical. At master classes, teachers from school No. 37 demonstrated techniques for working with students in specialized groups, ensuring students’ success in studying individual subjects: geography, social studies, chemistry, developing educational motivation, popularizing scientific, educational and creative activities.

In addition to the master classes, open lessons were held: biology in the 9th grade, technology in the 5th grade. The content of the lessons and technological techniques were filled with new meanings that meet the requirements of a modern lesson. The lessons evoked a positive emotional response from the students; the knowledge and skills gained are applicable in the children’s everyday lives. The lessons corresponded to the theme of the seminar and contributed to increasing the professional competence of teachers of general education institutions and institutions of additional education for children in matters of forming professional self-determination through lessons.

The main interesting project lines of CMIT activity are:

1. Intellectual direction: NOU, Olympiads, R&D, Science Week.
2. Creative direction: competitive movement (competitions “Young Inventor”, “Young Engineer” and “Vernissage of Family Heirlooms and Inventions”);
3. Project activities of school clubs (club “From Idea to Result!”, Creative Games Club, etc.)
4. The civil-patriotic line is the work of the “Ecologist” and “Local History” clubs.
5. Information and communication line - activities of computer games clubs, “With a computer on YOU”, school juniors.
6. Line of network cooperation and social partnership.

During the reporting period, information support was provided for the activities of the center for youth innovative creativity and the results of the work of the Center. More than 20 articles and notes were published on the school website. Articles about the innovative activities of the school are published monthly on the pages of the Perm newspaper “Peremena - Perm”. Information reaches educational participants through the school local network; films and presentations prepared by students are broadcast in the assembly hall and school foyer.

CMIT focuses on combining the interests of science and production, networking with educational institutions; is ready to provide services to the population by organizing new forms of educational interaction; develops social projects and implements them.

In conclusion, I would like to note that the implementation of the innovative project “Creation of a center for youth innovative creativity (YIC) as a model for the development of technological education for schoolchildren” contributed to the search and implementation of effective practices that contribute to the development of creative initiatives and have a positive impact on the professional self-determination of students. Relations with the public, science, and social partners were expanded and strengthened. The professional competence of teachers has increased in organizing the design and research activities of students, systematizing and presenting the results. One of the main ideas of CMIT remains the implementation of children's and youth initiatives, the creation of conditions for self-realization of students, teachers and parents of students, including in order to increase the level of professional readiness of students. At the same time, the innovative project involves further development and implementation of new individual areas.

Center for Youth Innovative Creativity "TechnoArt"

(direction: design technologies, design technologies)

Center provides equal opportunities for access to its technologies and equipment for all interested parties - schoolchildren, students of young technicians stations, creative centers, students of secondary and higher professional institutions, representatives of small and medium-sized businesses.

The main goal of creating the Center is to provide visitors to the Center with the opportunity to learn in practice the process from the birth of an innovative idea to the creation of a practical product. Every visitor to the Center gets the opportunityunderstand from your own experience what path an innovative idea takes from its inception to its practical implementation.

The main function of the Center is the development of innovative technical thinking, initial skills of innovation among students, for which it is proposed to use training programs aimed at project activities, based on business games, TRIZ, in the format of open innovation.

It all started in 2011.The management of Perspektiva LLC decided to test a new model of interaction between the Employer and the School. In 2011, a public-private partnership agreement in the field of education was signed between Perspektiva LLC and MBOU Secondary School No. 18.On the basis of MBOU Secondary School No. 18 was openedCenter for Engineering and Design , whose work proved the need for further development of functional connections between educational institutions andbusiness entities.

In addition, the implementation of programs for technological education of schoolchildren has shown the need for them to be trained to work on high-tech equipment.

To develop innovative technical thinking and initial innovation skills in students, it is proposed to use training programs aimed at project activities, based on business games, TRIZ, in the format of open innovation.

Partners of the Center

OJSC "Penztyazhpromarmatura"

FSBEI HPE Penza State University

FSBEI HPE Penza State Technological Academy

GBOU SPO Penza Industrial and Technological College.

Center for Youth Innovative Creativity “Step into the Future”

Schools in Penza (cooperation agreements concluded). List of schools - partners of CMIT TechnoArt - MBOU Secondary School No. 18, 50, 51, 27, 9, 17, 27, 58, 11, 12, MBOU LAD No. 3

Target audience of the Center

Students engaged in scientific and technical creativity.

Students of NGO institutions, students of secondary vocational education institutions, university students involved in research activities.

Young people striving to create innovative businesses.

Schoolchildren engaged in scientific and technical creativity in clubs and studios.

At home creativity of Penza.

Goals and objectives of creation

Center for Youth Innovative Creativity"TechnoArt"

Target: formation of a high level of engineering, technical and information technology competence among students and youth on the basis of project research activities

Tasks:

Creating fashion for technical creativity, increasing the share of students in technical associations

Development of basic and professional competencies and skills of students in technical areas

Increasing the share of students entering technical specialties of secondary vocational education and higher education

Formation of an environment for the implementation of projects in the scientific and technical sphere of children and youth, small and medium-sized businesses.

Expanding network interaction with institutions of higher education, secondary education, educational institutions, preschool education

Formation of a teaching community from among technologically advanced teachers.

The center has already established itself as an institution actively involved incareer guidance and educationalengineering and technical activities. Two years agoCMIT "TechnoArt" together with CMIT "Step into the Future" initiated and held a competition of business projects "Game is a Serious Business": the teams went through the full production cycle of a board game (idea, writing a business plan, drawing up technical documentation in a special program Teflex-cad , production of game elements, defense of the project to the investor) Last year, schoolchildren participated in the competition “Ideal workplace for a modern schoolchild” (from project development to furniture manufacturing).

In addition, CMIT “TechnoArt” is actively involved in the development of robotics among schoolchildren.

Areas of activity of CMIT "TechnoArt"

1. Excursion.

Target:acquaintance of schoolchildren and youth with the activities, areas of work and achievements of CMIT.

Tasks:

Presentation of the scope of activities of CMIT and its technical support.

Presentation of the achievements of schoolchildren and youth studying at CMIT, demonstration of the capabilities of the equipment.

Increasing the number of CMIT users.

Increasing the number of students in technical associations and those who are motivated to engage in technical activities.

Network expansion interaction with educational institutions, CMITs.

Career guidance for schoolchildren.

1. Educational. Lessons, master classes, training seminars.

Target: formation pedagogical community from among technologically advanced teachers, the formation of the foundations of engineering, technical and information technology competence among students who are motivated to engage in technical activities.

Tasks:

Introducing and training schoolchildren to work on new modern equipment, introducing educational programs aimed, among other things, at developing design thinking, research and design skills, including those based on TRIZ methods.

Selection and training of personnel to work with students and youth from among inventors, engineers of various specialties, designers, entrepreneurs, university teachers and school teachers.

Increase in quantityteachers involved in the development of technological education of schoolchildren.

Increase in quantityteachers and schoolchildren involved in the project activities of CMIT.

Interdisciplinary interaction of teachers in technical and technological areas.

Career guidance for schoolchildren.

1. Project activities

CMIT provides an opportunity to engage in creativity in favorable conditions, to study in practice the operation of modern production machines with digital software, which is especially important for the young “digital” generation, for whom the computer and the Internet are the main channel of communication and an incentive for creativity.

Target:Creating conditions that allow students and young people aimed at scientific and technical activities to effectively and at a modern technological level put into practice the technological chain from formulating an idea to its implementation.

Tasks:

Creating a fashion for technical creativity, increasing the proportion of students in technical associations and those who are motivated to engage in technical activities.

Development of basic and professional competencies and skills of students in the technical field.

Constant expansion Database

Increasing the proportion of students entering technical specialties of secondary vocational education and higher education.

Network expansion interaction with institutionsVPO, SPO, OU, DOD, CMIT.

Formation, together with organizations of science and industry, of a “bank of innovative topics” for project activities of students and youth.

Active participation in competitive technical events.

1. commercial activity

CMIT "TechnoArt" is, first of all, not commercial structure. The Center's equipment for working with children and youth is provided free of charge. The main priority is requests for equipment from students and young people. In its free time, the Center provides equipment or fulfills orders for youth commercial firms and innovative enterprises.

Commercial activities do not contradict the idea and objectives of CMIT and can become an equal part of the laboratory’s activities given that that no obstacles are created to open access and work of other CMIT participants.

Target:Ensuring wide and free access for talented youth to modern equipment and modern production technologies, organizing productive communication between youth and highly qualified engineering personnel of various specialties, entrepreneurs, etc.

Tasks:

Formation of the environment for the implementation of projects in the scientific and technical sphere of children and youth, small and medium-sized businesses.

To form “children-youth-adults” creative teams, united on the basis of joint tasks for the production of prototypes and prototypes of products, as well as the practical implementation of youth ideas and projects into products (samples).

Development of a deployment mechanism based on the Center for Youth Entrepreneurial Projects, commercialization of the results obtained, development of innovative youth business.

Constant expansion Database potential personnel of technical specialists.

Formation of teams of secondary vocational education and higher education students for the implementation of commercial projects.

Development of mechanisms for productive interaction between educational, scientific and industrial innovative enterprises on the basis of the Center.

Further “build-up” (development) of the material and technical base of CMIT, due to the attraction of funds from extra-budgetary sources, as well as from sponsorship of innovative enterprises and scientific organizations.

Advantageous territorial location

Accessibility and openness to the Center will be ensured by its short distance from a number of large enterprises and leading technical universities and colleges of the city of Penza. Within walking distance from the second site, MBOU Secondary School No. 18, there are 2 universities (Penza State Technological Academy, Penza State University of Architecture and Construction), 3 colleges (Penza Automobile and Highway College,Federal state educational institution of secondary vocational education "Penza State Automobile and Highway College" , GBOU SPO Penza Industrial and Technological College), 10 schools, 5 large industrial enterprises (JSC Penztyazhpromarmatura, JSC Penzkhimmash, FSUE PPO EVT, JSC ZiF-Plus, FSUE PPO Elektropribor), which will provide high attendance and full workload of the Center. The Center will ensure availability of equipment with the possibility of free work for students.Increasing the proportion of students entering vocational and higher education majors.

Development of the model base and complication of projects carried out in creative houses and technical circles operating on the basis of schools.

Training to work on high-tech equipment.

Creation of innovative entrepreneurial projects.

Release of souvenir products.

Fulfilling orders from enterprises for the design of industrial products.

Obtaining by students the basics of engineering and technical professions.

The Center for Youth Innovative Creativity (CYIT) is an open area where children and teenagers learn to translate their engineering ideas into functional prototypes. The main task of such platforms is to teach young people free of charge new technologies: robotics, digital manufacturing, modeling, prototyping and working on machine tools.

Russian CMITs are an analogue of the famous international FabLab project, which was initiated by the Massachusetts Institute of Technology (MIT). The project grew out of MIT professor Neil Gershenfeld's university course "How to Make (Almost) Anything."

In Russia, the project to create the CMIT started in 2012 on the initiative of the public organization “Young Innovative Russia”. Its goal is to provide children and young people with free access to high-tech equipment to acquire skills that will be in demand in the near future.

How to open CMIT

Opening a CMIT can be compared to opening a training center or a creative club: you need to register a company, draw up a charter, rent premises, purchase equipment and... go ahead! A business plan can be quite simple. There are several main income items:

• execution of small orders, for example, prototyping, 3D printing or automation;
• holding an engineering school for children and adults;
• mini-production of product series.

Items of expenditure are also easy to predict:

• rent;
• purchase of equipment, software and materials;
• employee salaries;
• taxes and a number of fixed costs.

The steps that need to be taken to open a CMIT are no different from those required to launch any offline business. Another question is if we are talking about creating such a center with state support.

The project to create CMIT was supported within the framework of the State Support Program for Small and Medium Enterprises of the Russian Ministry of Economic Development. According to this document, small businesses can apply for federal budget subsidies in the amount of RUB 7 million.

Who gives subsidies

A subsidy for the implementation of the project can be obtained as part of the competition “Support for Youth Innovative Creativity Centers (YIC).” Applications for participation in the competition are accepted by the Fund for Assistance to the Development of Small Innovative Enterprises in the Scientific and Technical Sphere (Innovation Assistance Fund, or “Bortnik Fund” - editor's note).

Who can count on a subsidy

Legal entities that meet the criteria for classification as a small business entity in accordance with Federal Law No. 209-FZ can count on receiving a subsidy:

• the amount of revenue for the previous year excluding VAT does not exceed ₽800 million;
• the average number of employees is no more than 100 people;
• the share of third parties in the company's authorized capital is no more than 49%.

The company must be a participant in the state support program for SMEs of the Ministry of Economic Development of Russia to create or support the activities of CMIT, or act in the interests of already created CMIT, and also have OKVED 72.1 “Scientific research and development in the field of natural and technical sciences”, or OKVED code 73.1.

The proposed project must not have other budgetary sources of funding during the entire period of project implementation using a grant and any other pending relationship with the Innovation Promotion Fund. The project participants themselves - individuals - should also not participate in other projects financed by the Innovation Promotion Fund.

What to spend money on

Federal budget subsidies can only be used for approved areas of activity:

• purchase of high-tech equipment (with a set of spare parts and consumables);
• acquisition of electronic computer equipment (equipment for information processing);
• acquisition of software, peripheral devices, copying equipment;
• providing communications;
• financial support for educational projects and activities to involve children and youth in innovative activities.

Requirements for centers

There are a number of requirements that CMIT must meet:

• availability of own or rented premises with an area of ​​no more than 120 square meters. m for placing equipment;
• availability of a standard set of equipment;
• the presence of at least two specialists on staff who can work with this equipment;
• the presence of specialists on staff who have experience working with children;
• providing open access to equipment;
• Availability of Internet connection and Internet portal.

In addition, the organizers of the CMIT must ensure its activities for 10 years from the date of its creation.

Standard equipment set

The list of standard equipment of the center is small: 3D printer and scanner, milling machine and laser cutting machine, cutting plotter. Office equipment is also required for the center to operate: computers or laptops, printers, scanners, telephones.

Opinions

Polina Dyatlova, head of Fablab "Polytech" (Russia, St. Petersburg):

– In 2011, the Polytechnic University sent me and my colleagues for an internship at FabLab at the Architectural University of Catalonia (Spain, Barcelona). Around the same time, a program to support CMITs from the Russian Ministry of Economic Development opened in Russia. Our team set out to organize such a center on the basis of the Polytechnic University and received the first grant from the Innovation Promotion Fund, the Ministry of Economic Development and the Government of St. Petersburg.

To popularize engineering creativity among young people, we organize engineering schools, science weeks, and intensive courses for applicants. We mainly receive financial support from the Polytechnic University, as well as in the form of grants from foundations and development institutions, but there are also commercial orders. From my own experience, I will say that the main thing is not to be afraid of anything, to go forward, to test in practice the emerging design and organizational hypotheses.

Head of Fablab "Polytech" Polina Dyatlova at the Fabacacademy 2016 awards

Grzegorz Bielika, vice-president of Fablab “Lodz” (Poland, Lodz):

– Our formula for existence: to remain independent from government grants and subsidies. Our fundraising history is quite complex: 90% of the funds received over the past three years were raised through individual work with private foundations. We also attract businesses to cooperate, conduct crowdfunding campaigns...

The target audience of our center is enthusiasts of the DIY (do it yourself) movement. We provide creative and innovative space (including equipment) for development and self-realization. In addition, we provide courses in 3D modeling, programming, clothing design and even welding.

Fablab 3D printer “Lodz” for ZSP 20

CMIT Russia

According to RVC, today there are 226 CMITs in the country in 32 regions. The most complete list, which is presented on the website of the Community of CMIT and Russian Fab Labs, includes 154 organizations. According to a study conducted by Docsourcing, 65 centers on this list have an up-to-date website or their own page on social networks, which provides minimal information about the organization, including address and contacts.

41 CMITs out of these 65 are completely non-profit, that is, they do not receive any profit and operate at the expense of grants and sponsors. 24 organizations chose the commercial model of existence. Most of them conduct paid courses and trainings, while a smaller part provides services: production of small batches of products, rental of equipment, space, etc.

Below is a list of the 65 most active Russian CMITs:

UPD: five more CMITs are included in the list, now there are 70 of them

Name	City	Website	Specialization
Arkhangelsk Center for Innovative Youth Creativity		Laser cutting, CNC milling, 3D scanning
CMIT "LIRA"		3D printing, 3D printers, robotics, modeling
Fablab "Interkot"		Robotics
Fablab "Eureka"		Programming, electronics, robotics, biomedicine
CMIT "Creative laboratory "Genesis"	Dmitrov	https://www.facebook.com/labgenesis.dm/	3D modeling, electronics, robotics and remote control systems
CMIT "Progress"	Dmitrovgrad	tsmitprogress.rf	Radio engineering and electronics Arduino, 3D printing, 3D scanning, laser cutting and engraving, milling, plotter cutting, robotics, unmanned aerial vehicles
CMIT "Polytech"		Robotics, electronics, web programming, C++1, laser cutting and engraving
Robotics Laboratory "Cosmoport"		Robotics
CMIT "Zhukovsky"		3D printers, laser machines, milling machines
CMIT "Youth"		3D scanning, 3D printing, 3D modeling, laser engraving
CMIT "Agency of Innovation"
CMIT "Design Factory"		3D scanning, 3D modeling, 3D printing
CMIT "Baikal"		3D printers, electronics and robotics
CMIT "Digital House"		Robotics, engineering, prototyping, animation, sound engineering, painting, journalism
Center for Youth Innovative Creativity		3D scanning, 3D printing
CMIT "Composite"		Robotics
CMIT "Fablab Hangar"	Krasnoyarsk	http://fablab24.ru/	3D printing, laser cutting, engraving, milling machine, cutting plotter, band saw, screw cutting lathe
CMIT of the Republic of Tyva		Robotics
CMIT "Novator"		Training in invention, rationalization, 3D modeling, prototyping, programming, robotics, laser cutting
Children's University MPGU		Robotics, electrical engineering
Production base "3D ideas"		3D modeling, 3D scanning, 3D printing
CMIT "Bauman Fab Lab"		3D technologies, robotics
CMIT "Leader"		3D scanning, 3D printing, laser engraving, laser cutting, 3D modeling, design
CMIT at the Moscow State University Science Park		3D modeling, 3D printing, 3D scanning, laser cutting/engraving, milling, prototyping
MIIT Prototyping Center		3D design, 3D modeling, 3D scanning, 3D printing
CMIT "Vertical Takeoff"		3D printers, 3D pens, CNC laser, CNC router
CMIT "RoboSkart"		3D modeling, 3D scanning, 3D printing
CMIT "Russian Engineer"		3D modeling, 3D scanning, 3D printing, design, programming
CMIT "Superlab"		3D modeling, 3D scanning, 3D printing
Innovation laboratory "MOUSE LAB"		3D modeling, 3D scanning, 3D printing, laser machines
CMIT "Wisteria Lane"		Robotics, aircraft modeling, car modeling, ship modeling, architecture and art, programming, transport and space systems, 3D design, 3D design, web design
CMIT "Academy"		3D printing, 3D scanning, laser cutting/engraving, milling, prototyping
CMIT "Bionic Lab"				3D modeling, 3D scanning, 3D printing
CMIT "Cube"		3D modeling, 3D scanning, 3D printing, laser machines
CMIT "Robots and Gadgets"	Moscow

V.I. Rybakova

Hardly anyone doubts the affirmative answer to the question: is innovative activity a factor in the development of teachers’ creativity? The practice of innovative activities of teaching staff and individual teachers convincingly proves this.

In the qualification characteristics of teachers of the highest and first qualification categories, one of the main conditions is a creative attitude to teaching activities, participation in the development and implementation of new projects that contribute to the improvement of the teaching and educational process.

Based on the certification results, 34 teachers received the highest category in 1993, 233 in 1994, 270 in 1995, 301 in 1996, and this year 1,083 teachers are applying for the highest qualification category.

The protection of creative works and original projects is increasingly becoming a form of qualification tests. Participation in research helps a teacher's creative growth and improves his qualifications. Teachers with extensive experience in practical work systematize and generalize it, competently organize testing of ideas and evaluation of results.

Heads of institutions, implementing innovative projects, come to understand the managerial aspect of innovation. It is the development regime that requires a transition from leadership to management, understanding the program-targeted approach, creating a concept for the development of an educational institution, and mastering the scientific foundations of management.

By interacting with science, practitioners are involved in real research work and improve their analytical and forecasting skills.

The information and pedagogical center's data bank contains 450 creative works and projects, most of them are in demand not only in the region, but also outside it; in 1996 alone, more than 300 people applied for this. The most popular topics and projects among teachers are on new teaching technologies, non-traditional forms of organizing the educational process, correctional pedagogy, rural schools, working with parents, and the Russian national school. Demand also indicates the desire of teachers to be creative.

I believe that not only and not so much the certification process intensified the teacher’s desire for new knowledge, advanced training, but above all the desire for self-expression, self-realization in solving pedagogical problems, using the opportunity to recognize oneself as a creative person, awareness of involvement in an important professional matter in close cooperation with colleagues.

Despite severe financial difficulties, the influx of people wishing to take courses does not weaken; over the past year alone, 12 thousand teachers and managers took part in various forms of retraining and advanced training.

It was innovative activity that aroused teachers’ keen interest in creativity, including the favorable innovative environment in the region, which included:

creation of a favorable regime at all levels of management, expressed in the demand for initiative and creativity of teachers, determination of forms of support and practical assistance to them;

formation of human scientific potential capable of providing support for emerging and developing programs and experiments;

creation of a management infrastructure specializing in the management of innovation activities at all levels;

the formation of support services, the main task of which is the formation of a social order for innovation, providing an expert assessment of the significance for the region and the prospects of the projects under development, monitoring the results of innovative activities of individual teachers, creative groups, entire teaching teams, municipal management structures;

creation of a system of information and methodological support at all levels that meets the needs of teachers, including replication of activity results, holding scientific and practical conferences, etc.;

the creation of supporting educational institutions, municipal education authorities, which are proactively moving to work in a development mode;

creation of temporary research teams within the educational institution, the municipal education system and at the regional level;

ensuring the development of curricula, programs for the regional component of educational content and its methodological support;

creating an atmosphere of social significance of innovative processes, ensuring children and parents are informed about ongoing changes in the field of education.

Singling out work with personnel as the main link in the development of innovative activities also contributes to the development of creativity.

One of the necessary conditions for the implementation of the principle of the main link is a set of measures that stimulate the innovative activities of teachers:

material support, expressed in partial financing of projects, salary bonuses, material incentives in the case of competitive selection of a project;

moral support: public recognition of the problems stated in the innovative project; the opportunity to recognize oneself as a creative person involved in an important professional endeavor in collaboration with colleagues; the possibility of publishing the results of innovative activities;

professional support: individually oriented assistance, the opportunity to study in targeted courses, participation in round tables, organizational and activity games; special attention to innovation activities during certification for qualification categories.

One of the important areas of work on managing innovation processes was individually oriented assistance to teachers and assistance to teams in resolving typical problems in organizing creative work. Among these problems, we have identified the main ones and outlined ways to solve them.

The lack of sufficiently complete information requires targeted actions to ensure it: the creation of information support structures in management, the expansion of publishing activities based on the results of innovative processes, the organization of information releases and information and methodological banks, holding scientific and practical conferences, changing curricula and training programs for personnel .

Formal acceptance of the principles and stated strategy of the project, selection of a project in a “young”, prestigious direction. The solution to this problem is provided by expert advisory assistance during design (special elaboration of priorities in the form of tactical and strategic achievements, control and diagnostic procedures, their manifestation, the use of various forms of project consideration - defense, individual interview, presentation, etc.).

The discrepancy in opinions of project participants is reduced after collective discussions, modeling of activity processes, familiarization with educational approaches, conceptual, theoretical and practical methodological innovations, and stimulation of joint multi-level, interdisciplinary applications.

Resistance to innovation among managers and individual employees of teaching teams decreases when organizing collective and individual work to change thinking, develop a new vision and position during advanced training and active group work (interactive seminar, discussion, focus group, collective form of advanced training). Changing the situation is facilitated by the inclusion of an indicator of the receptivity of innovations as a qualification requirement for heads of educational institutions and teachers of the highest qualification category with the development of appropriate qualification tests for certification.

The lack of competence of project implementers necessitates the creation of experimental and internship sites in educational institutions and management structures; conducting intensive technological courses, individual consultations, expanding organizational and activity games as a form of work in individual creative groups, entire teaching teams of institutions and territorial entities.

The practical results of introducing a new model for managing the innovative activities of educational institutions in the region include the following facts.

In the 1995-1996 academic year, already 80% of the region's schools had 70 new subjects and courses in their curricula, aimed at humanizing education, preserving and reviving the national character of the school, pre-professional guidance and training, social adaptation and rehabilitation of students and pupils.

In 20% of schools, early learning of the fundamentals of computer science and computer technology, a foreign language, and propaedeutic courses in physics and chemistry are provided; 40% of schools have introduced student choice of in-depth study of individual subjects. A comprehensive system of supporting talented children is being formed. For children with developmental problems, the network of social institutions has been expanded and compensatory education classes, equalization classes, classes for medical reasons, multi-age education groups, groups without basic education in primary vocational education institutions have been formed within general education institutions, and a home education system is being formed.

Social assistance centers for children are being created; methodological and pedagogical schools, psychological services, cultural and educational centers, trust services, etc.

At the regional level, a telecommunications center for distance learning for schoolchildren has been created with branches in six cities and four regional centers; part-time schools of Russian philology and culture, mathematics, physics and technology; The process of including all secondary schools in the international educational telecommunication networks INTERNET continues.

Innovation is the search for something new, avant-garde

and support for ideas that become

in art a breath of fresh air.

T. Manasherov, founder

cultural and charitable foundation "U-Art"

[Innovation in Art]

Innovation is “the final result of innovative activity, embodied in the form of a new or improved product introduced on the market, a new or improved technological process used in practical activities, or in a new approach to social services” [Agarkov et al., 2011, p. . 154]. According to P. Stoneman, innovation occurs when new products, processes, raw materials, and management methods first appear in a new or existing market, or in a non-market environment (education, healthcare, etc.). In addition, when a certain institution uses new technologies, processes, methods, developments for the first time in its activities, we are also talking about innovation, despite the fact that other institutions have already applied or used it before. .

Creating an innovation is a gradual process consisting of three successive stages. First, a person generates a new idea, and this is how an innovation appears (for example, a gadget can be controlled by moving a finger on the screen); then this idea is embodied in a specific material object, technology is created, and thus an innovation appears (the creation of a touch screen); and only then, when this technology is implemented in a specific device and is accompanied by growing popularity and commercial success, then we can talk about creating an innovation (touch screen phone).

Innovation covers almost all spheres of society: new technologies, products, types of advertising, and sales methods appear. For example, Google has created smart glasses, the Google Now electronic assistant, and the Google Fiber gigabit fiber-optic network; iRobot presented a cleaning robot to the public; “Philips” is a “smart” lighting system that allows you to adjust the color of lighting and control it using smartphones [Melnik].

Innovation in the arts has a long history. Gradual transitions from parsuna to portraiture, from classical art to abstract art, from classical to modern theater were accompanied by innovative processes that did not destroy what was created earlier, but transferred art to a qualitatively new stage.

In the literature, there are various classifications of innovation: production and management; product (creation of a new product), technological (use of new technology), process (use of a new production organization) and marketing (opening new markets and sources of raw materials); radical and improving [Agarkov et al., 2011, p. 57]. However, in relation to the field of performing arts, the most appropriate, in my opinion, is the classification of innovations according to the form of implementation, according to which all innovations are divided into two types: soft and hard.

Hard - innovations are associated with the creation of material objects, changes in the functional characteristics of the product; such innovations often require large development and implementation costs. For example, the creation of new machines, the first microprocessor, a digital camera. In relation to the theatrical sphere, this could be the improvement of sound, light, scenery, the introduction of live online broadcasts, etc. Here we are talking about the technical side of constructing a performance, that is, a performance using innovative technologies.

For example, in 2002, an innovative production of the opera “The Snow Maiden” was shown on the stage of the Bolshoi Theater, which used video using High Definition digital technology (this technology was first used by D. Lucas when filming “Star Wars”). During the performance, a two-hour video film was broadcast, based on N. Roerich’s set designs [Experimental production of the opera “The Snow Maiden”...].

If we are talking about the introduction of innovations into the artistic part of the production, then here we are talking about the introduction of so-called soft innovations and the staging of an innovative performance.

Soft innovation (soft innovation) is innovation in products or services that is associated with an impact on the sensory perception and aesthetic appeal of the product, rather than with a change in its technical characteristics. Examples of soft innovation include the development and launch of a new clothing line, a new advertising company, a new architectural design, and the introduction of the process of collective composition of a play by Internet users into the theater [Dolzhansky]).

P. Stoneman divides soft innovation into two categories. The first category includes innovations in products that themselves have aesthetic value and relate to objects of culture, art or media industry: music, books, films, fashion objects, etc. The second category includes innovations in industries related to the creation of material products, that do not have aesthetic value (examples of such innovations are a new car design, a new air freshener scent, etc.).

Innovations in the artistic part of a theatrical production fall directly into the first category of soft innovations. The starting point is the work of art itself, and innovation is the creation of new principles for constructing a work of art. An example is the innovation in Russian ballet of the 19th century, when choreographer M. Petipa began to create completely unique productions in which ballet was no longer just a well-executed dance, but was a real theatrical spectacle with a certain plot and emotional component; Much attention began to be paid not only to technology, but also to pantomime. Thanks to the innovative approach of M. Petipa, Russian ballet began to be called the best ballet in the world [Marius Petipa: how the Frenchman did...].

Another example of soft innovation can be an original reading of a famous work. For example, the Polish theater “Zabrzu” presented a new interpretation of “Don Quixote”, in which the heroes of the famous work by M. Cervantes turn out to be ordinary theater workers, and in the evening they perform feats in their dreams [The Perm theater brought “Little Lady to Cairo....].

A theatrical production can contain both hard and soft innovations. An interesting example is the production of the classic opera “The Pskov Woman” by N. Rimsky - Korsakov, presented in 2011 by artists of the Bolshoi Theater in Pskov. Spectators were able to see the opera production directly within the walls of the Pskov Kremlin (in the place where historical events took place). For the first time in Russia, an opera was shown in natural historical settings and in the open air. Special decorations for boyar houses were brought from Moscow, the most modern technical equipment was used, and stuntmen and horsemen were also invited [The opera was staged in the Pskov Kremlin...].

Since innovation involves either creating a new or improving an existing product and at the same time also creating consumer value, today theaters (in the face of competition from the entertainment industry and other performing arts organizations) are actively looking for new approaches, ways of constructing a performance and creating innovative productions to in order to increase its competitiveness and attract audiences. It is extremely important to influence the imagination and emotions of the public through the introduction of innovations and create a certain atmosphere. The intellectual, emotional or aesthetic experience associated with viewing a particular performance should become a source of emotional satisfaction for the viewer [Kotler, Sheff, 2004, p. 56]. The result of the introduction of innovations in combination with the application of marketing principles in theater and concert organizations is ideally to increase the competitiveness of the organization and the satisfaction of visitors.

Today there are both experimental theaters with a repertoire of an exclusively innovative nature (for example, the British theaters "Soho Theatre", "Camden People's Theatre", "Bush", "King's Head" [Theater in the Homeland of Shakespeare]), and classical theaters that present innovative productions to the audience, along with traditional ones.

It should be noted that innovative productions in the theater’s repertoire mean modern productions. In the case of ballet, we should talk about classical and modern choreography, in the case of opera, about the author’s (modern) and traditional interpretation (classical) interpretation.

One of the striking examples of a theater whose repertoire includes both classical and modern productions is the Perm Academic Opera and Ballet Theater named after P. I. Tchaikovsky - one of the oldest theaters in Russia, founded in 1870 [History of the Perm Opera and Ballet Theater ballet]. The theater is one of the leading musical theaters in the country, and in 2015 it received the largest number of awards compared to other participants - five Golden Masks (National Theater Award) [Triumph of the Indian Queen...].

In their message to the media, representatives of the theater say that the theater “carefully preserves classical traditions - and at the same time sensitively responds to the challenges of our time” [Message from the Perm Opera and Ballet Theater for the media]. This is reflected in the theater’s logo - the letter “O” divided into two segments, offset relative to each other, which symbolizes, firstly, the combination of opera and ballet - two types of performing arts offered by the theater, and, secondly, the combination of tradition and modernity [The Perm Opera and Ballet Theater presented...].

By creating modern opera and ballet productions, the theater creates a kind of innovative cultural products (opera and ballet are considered as innovative products specifically in the cultural and social environment of Russia). The Opera and Ballet Theater strives to keep up with the times, speak to the audience in a modern language, and also attract young audiences, which is why it offers the public productions that are fundamentally new for the audience of Perm and the Perm region. Examples of modern innovative productions include the following: “Don Giovanni”, “The Marriage of Figaro”, “Duena”, “Queen of the Indians”, “Nosferatu”, “Orpheus”, “Journey to the Land of Jumbles”, “The Tales of Hoffmann”, “ La Traviata (opera), The Second Detail, When the Snow Was Falling, Les Noces (ballet). (See Appendix 2).

An interesting example of the introduction of soft innovations is also the opera “Fidelio”, staged by the Perm Opera and Ballet Theater in 2010 at the “Perm-36” museum, a former camp for political prisoners. The action took place in various parts of "Perm - 36", and all participants (orchestra, choir, spectators and actors) moved around the museum as the action progressed. Volunteers selected at the casting were invited to play the roles of guards, soldiers, and prisoners. In order to recreate the atmosphere of camp life, the audience was fed buckwheat porridge during the intermission, the guards urged them on with shouts, they were subjected to “shmonia”, stage art installations were placed on the territory illustrating the prison regime [At the premiere of “Fidelio” in “Perm-36”... ].

However, despite the wide variety of innovative productions, as well as the significant time and financial costs for their creation (for example, 15.5 million rubles were allocated for the creation of the opera “The Marriage of Figaro”), not all consumers are ready to attend them. Thus, the artistic director of the Perm Opera and Ballet Theater T. Currentzis noted in one of his interviews: “The key to a successful artistic policy is a balance between classics and modern material. This is a formula for success, which is why we show classical, golden repertoire, but very well done, as well as modern. Our policy is democratic, we take into account different tastes, we can alternate classical productions with ultra-modern ones, but all of them must be done with taste. And the audience, like gourmets, can choose completely different things” [Interview with T. Currentzis].

Thus, the theater strives to satisfy the needs of different segments of the audience, offering the public both traditional and modern (innovative) productions.

Since any innovation involves an element of uncertainty, when introducing innovation into a theatrical production, it is advisable to determine how receptive consumers are to innovation - to assess their level of innovativeness. Accordingly, when introducing innovations into production, segmentation by level of innovativeness (receptivity to innovation) becomes especially important. Consumers vary in the degree of their readiness to accept new ideas, as well as to test and evaluate the merits of a new work from their own experience, so the theater needs to understand which segment is more conservative in choosing an artistic product, and which is most receptive to innovation.

Here it is appropriate to turn to the theory of “Diffusion of Innovations”, created in 1962 by the American sociologist E. Rogers. According to Rogers, every consumer goes through 5 stages in the decision-making process to use (adopt) an innovation:

• - Knowledge (acquaintance) - the consumer learns about the innovation, but does not have complete information about it (for example, the consumer heard from friends that a new modern production will soon be shown in the theater);
• - Conviction (interest) - the consumer shows interest in the innovation, searches for additional information (the consumer is looking for information about prices, timing);
• - Decision (Evaluation) - the consumer evaluates the advantages and disadvantages of the innovation and decides whether it is worth using it for the first time (the consumer evaluates his financial capabilities, time costs and decides whether to buy a ticket or not);
• - Approbation (Test) - the consumer uses the innovation for the first time (the consumer visits the theater and watches the production);
• - Confirmation (Acceptance) - the consumer evaluates the results of use/application and makes a decision on further use (the consumer draws conclusions, evaluates the production, which in the future may influence his decision to visit another modern production).

However, the time it takes for each consumer to go through all stages is different; it is determined, firstly, by the main features of the innovation itself, and secondly, by individual personality characteristics. Among the signs of innovation, E. Rogers identifies relative advantage (the extent to which the new idea underlying the innovation is perceived as better than the idea that it replaces/displaces); compatibility (with existing values, needs and previous experiences of potential consumers); complexity (for understanding); availability for trial (ability to test/use on a limited scale); observability (how clearly the results of innovation implementation are expressed). The greater the relative advantage, the higher the degree of compatibility, accessibility and observability, and the lower the degree of complexity of the innovation, the higher the receptivity to innovation.

As for the individual characteristics of consumers, E. Rogers identified 5 types of consumers that differ in the speed of adoption of innovations: “innovators,” “early adopters,” “early majority,” “late majority,” and “late adopters.” Let's look at each of the categories.

“Innovators” (“pioneers”, “experimenters”) are the first 2.5% of consumers (the smallest group) who begin to use innovations. They are educated, passionate, willing to take risks, open to everything new, have many information sources, a certain level of technical knowledge, as well as financial resources. They are ready for problems associated with initial use and innovation.

“Early adopters” (“early adopters”, “leaders”, “local leaders”) are the next 13.5% of consumers who begin to use innovations. They are social leaders, opinion leaders, respected by others, educated, can think ahead, and strive to use innovation to gain a significant competitive advantage. They receive information provided by “innovators” and make informed adoption decisions based on this information.

"Early Majority" - the next 34% of followers. They are more cautious and thoughtful than early adopters, but they also adopt innovations earlier than average followers and also have many social contacts.

“Late Majority” (“skeptics”, “conservatives”) - the next 34% of followers. They are skeptical of innovation, conservative, and have low social status. They weigh the pros and cons for a long time. Sometimes the determining factor in the adoption of innovations is the pressure of a social group or economic necessity.

“Laggards” (“traditionalists”, “late adopters”) are the last 16% of followers who begin to use innovations. They are either tied to tradition, reluctant to accept new things and distrustful of the opinions of those who have already used the innovation, or they are isolated from other members of society and lack information. The decision-making process for using an innovation is the longest for the “lagging behind”. They can begin to assimilate and accept an innovation even when it ceases to be an innovation.

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While identifying these types of consumers, Rogers, however, notes that the rate at which consumers adopt innovations may vary, so five ideal types do not exist in their pure form. It should also be noted that in a real situation in the market for consumers of cultural products, some of the five types may likely be absent, which may be due to the specifics of the market.

Thus, setting himself the task of segmenting consumers, E. Rogers draws attention to how quickly users accept innovations, that is, how receptive they are to innovations.

It should be noted that in this work, in addition to the segmentation criterion proposed by Rogers (susceptibility to innovation), such a criterion as omnivorism will also be used. Segmentation based on these two criteria will allow you to develop an optimal program for promoting an innovative product, build an effective communication policy, and at the same time avoid unnecessary financial expenses.