1. The concept of a team

2. Effective work of the creative team

3.Social factors hindering creativity

4. Artistic co-creation as collective creativity

A team is a group united on the basis of universal human values ​​and providing emotional well-being to its members. (Ya.L. Kolominsky). It's peculiar quality of the group associated with common activities, which is the product of group development.

The team can be called small group if she answers the following requirements:

successfully copes with the tasks assigned to it,

has high morals, good human relations,

creates for each of its members the opportunity to develop themselves as individuals,

gives people more than the same team members working individually can give.

The team must have collectivist relations which are defined via: Morality, Responsibility, Openness, Collectivism, Contact, Organization, Awareness, Efficiency.

The presented model should be considered rather as an ideal.

A group on its way to a collective usually goes through a series of stages, including not only progressive changes in its psychology, but also peculiar crises.

The group is going through a period of temporary decline. At the very beginning of development, as a rule, there is a rise, accompanied by increased activity, high spirits, enthusiasm, which then give way to a more or less noticeable decline. Following him, if the group manages to preserve itself as a community and the previously acquired collectivist qualities, an upsurge is again observed, which, however, does not reach the height at which, from the point of view of the general psychological attitude, the collective was at the beginning.

To a large extent, team cohesion depends on stage of maturity :

lapping

"conflict"

experimentation stage

successful problem solving experience

forming strong bonds

Measures for the formation of a favorable socio-psychological climate of the team:

staffing taking into account the psychological compatibility of people;

optimal limitation on the number of persons subordinate to one leader (5-7 people);

lack of extra workers and vacancies;

office etiquette;

the use of socio-psychological methods that contribute to developing skills of effective mutual understanding among team members and interactions.

2. Effective work of the creative team

In any organization there is a dynamic distribution of certain business roles. This phenomenon consists in the fact that each of the members of the organization plays a dual role.

The first role is formal. But the second role, "role in the group", is much less obvious, but it is essential for the successful operation of the team. The experiments identified a total of eight business roles that team members can play; there are simply no other roles in the group.

Not every group has to have eight members. It is quite possible and even necessary for a person in a group to play more than one role. It is important that in a successful group, each of the eight roles is played by at least one person, and all eight roles have an impact in the life of the group.

There must be a balance of eight roles, without the dominance of any one represented by a large number of group members. Particular attention should be paid to the selection of people for the roles of "leader" and "idea generator". The "leader" must be powerful, authoritative and inspiring, inspiring confidence, looking for talents and abilities in group members and knowing how to use them for the good of the cause. In order for a group to operate successfully, it must have one strong “idea generator”. If there are many “generators” in the group, it will become mired in fruitless debates and discussions.

It is important to know the potential capabilities of each member of the team in the implementation of the social roles outlined.

The creative team as an organized group of workers has a number of distinctive features:

Creativity of the whole team directly depends on the activity and success of the creative activity of each participant;

The dualism of the creative team, which consists in the fact that creativity requires individualization, while the team cultivates unity;

The leader of a creative team combines the functions of a formal and informal leader.

The leader is an active, creative person. He is the organizer Everyday life participants. Only a person with a developed will, where personal activity is given a decisive place, can arouse interests, lead participants. The management of a creative team obliges the leader to be inventive, quick-witted, persistent, ready to independently resolve any situations. Professional qualities leader are endurance and self-control.

Traditionally, the management process is divided into five stages: planning, organizing, managing people, motivating and controlling. In accordance with this division, it is possible to determine the main functions of management:

1. strategic (planning);

2. administrative (organization);

3. communicative and regulatory;

4. motivational;

5. controlling.

However, based on the specifics of the activities of the head of the creative team, the following functions are distinguished:

· humanistic;

· communicative;

information;

· educational.

The humanistic function of the head of a creative team brings universal human values ​​into the creative process, creates conditions for the development of human abilities and talents, serves to strengthen cooperation, equality, justice, humanity in joint activities.

The implementation of the humanistic function combines the opposite, but closely related processes of socialization and individualization of the individual. Gaining experience public relations in leisure activities and communication occurs at the individual level, when the norms and rules of social life become personal qualities.

The communicative function of the leader meets his primary need for communication with participants, colleagues, school teachers, representatives production area, especially since the work process in cultural institutions is a constant interaction, exchange of information between interested participants.

The learning function is implemented in the activities of the leader, aimed at mastering by the participant a certain system of knowledge, skills, social experience on the development of his intellect and abilities. The successful implementation of the learning function is due to a number of factors: the level vocational training leader, including special, didactic, technological and methodological training; the level of readiness of students to master knowledge, skills, abilities; the availability of an appropriate material and technical base for training; availability of sufficient time (terms of training); individual psychological characteristics of teachers and students, etc. A learning team is a group of workers that contributes to the learning of all its members and is itself continuously transformed as a single whole.

Ways of developing independence, activity of creative professions are called problem-heuristic methods. It comes from the recognition of several levels of independence and activity, and the specifics of building work in sequential switching to higher levels.

1 level. The leader himself formulates and solves the problem. The employee remembers the wording and course of the decision.

2nd level. The leader sets a task or problem, formulates conditions, introduces all possible solutions and offers to choose the most effective ones.

3rd level. The leader only points out the problem or task. Employees are invited to comprehensively investigate it and solve it.

4th level. The participant is given the task to see the problem himself, formulate it and solve it.

Speaking about the development of creative activity, we should highlight the question of the motives of activity. Participants are most active when activities and tasks are not only interesting or curious, but also valuable to other people and society.

The social, organizational and managerial tasks facing the heads of creative teams today require new approaches to the management of creative and organizational processes, the use of more flexible and management technologies. One of the most effective methods management emphasize leadership style.

Leadership style is a way, a system of methods for influencing a leader on subordinates. One of the most important factors effective work organization, the full realization of the potential of employees and the team. Most researchers distinguish the following leadership styles:

* Democratic style (collegiate);

* Liberal style (permissive or anarchist).

The directive style of management is characterized by high centralization of leadership, the dominance of one-man management. The head demands that all cases be reported to him, single-handedly makes decisions or cancels them. The prevailing methods of management are orders, punishments, remarks, reprimands, deprivation of various benefits. Very strict control, detailed, often depriving subordinates of initiative. The interests of the cause are placed much higher than the interests of people; harshness and rudeness prevail in communication. The authoritarian leadership style has a negative effect on the moral and psychological climate, leads to a significant decrease in initiative, self-control and responsibility of employees. The advantage of this management style is the ability to respond quickly in a critical situation.

The democratic style of management is characterized by the distribution of authority, initiative and responsibility between the head and deputies, the head and subordinates. Supervisor democratic style is interested in the opinion of the team on important production issues, makes collegial decisions. Regularly and in a timely manner informing the members of the team on issues important to them. Communication with subordinates takes place in the form of requests, wishes, recommendations, advice, rewards for quality and operational work, benevolent and polite; orders are applied as necessary. The leader stimulates a favorable psychological climate in the team, defends the interests of subordinates.

The liberal style of management is characterized by the lack of active participation of the leader in the management of the team. Such a leader waits for instructions from senior management or falls under the influence of the team. He prefers not to take risks, to postpone the resolution of urgent conflicts, seeks to reduce his personal responsibility. He lets work take its course, rarely controls it. This style of leadership is preferable in creative teams, where employees are distinguished by independence and creative individuality.

So, the creative group has its own characteristics that cannot be ignored. It should be remembered that the team leader is a person who leads the team behind him. Management activity by creative people is specific, therefore it includes a number of additional functions (humanistic, communicative, informational, educational). For a leader, choosing the right style of team management is especially valuable. One way or another, to the greatest extent in the profession of a manager personal growth- an indispensable condition for achieving professionalism.

Completed by: student of group 32

Podstavnyagin Ivan

Course leader:

Karpova Tatyana Vyacheslavovna

Chapter I. The team as a creative unit.

INTRODUCTION

The relevance of this topic is a team (from lat. collectivus - collective) - a group, a set of people working in one organization, at one enterprise, united by joint activities within an organization. A group can act as a managing, managed or self-governing structure with varying degrees of cohesion of its members - from an unorganized crowd to a single team. To be considered a collective, a group must satisfy several criteria, the main of which can be considered the presence common purpose all of its members. The latter can be formed as a result of the mutual influence of their individual goals or be set from the outside in accordance with the mission of the organization, but it will always be joint, the same for everyone, and not just the same, similar.

Another sign of the collective is the psychological recognition by the members of the group of each other and identification with it, which is based on common interests, ideals, principles, similarity or mutual complementarity of characters, temperaments, etc., although these points should not be overestimated.

Such psychological recognition makes possible the constant practical interaction of people, as a result of which the potential of the team turns out to be significantly greater than the sum of the potentials of each of its members.

The goal is to study the concept of collective and their classification.

In the course of work on the course, the following tasks were set and solved:

1. The team as creative units

2. The concept of "Team". His role in the organization of creative activity

3. Types of creative teams

4.Children's choir and its leader

5. Requirements for the personality of the leader

6. Techniques and methods for creating a team

7. The specifics of the creation of a choral folk group

Object, subject of study - the object of study of this course team and its classification.

The degree of research on the topic - In official documents Russian Federation there are indications of the need to organize systematic work with the class team: "The state program" Patriotic education of citizens of the Russian Federation for 2001-2005 "(Approved

Decree of the Government of the Russian Federation on February 16, 2001); "On the main directions of development of education in the education system" (Decision of the Board of the Ministry of Education of Russia of September 28, 1999); "Organization of the activities of the class teacher in educational institutions"(Appendix to the letter of the Ministry of Education of Russia dated June 21, 2001). In the last of these documents, it is emphasized: “One of the most important tasks of the class teacher is systematic work with the class team. The teacher humanizes the relationship between children in the team, contributes to the formation of moral meanings and spiritual guidelines, organizes socially valuable relationships and experiences of pupils in the class community, creative, personally and socially significant activities, a system of self-government; creates a situation of security, emotional comfort, favorable psychological and pedagogical conditions for the development of the child's personality ".-

The problem of the team in Russian pedagogy has a long history. A significant contribution to solving the problems of the formation of a children's educational team in the second half of the 19th - early 20th centuries was made by P.F. Kapterev, V.P. Vakhterov, K.N.

In the 20s. In the 20th century, in Soviet pedagogy, the children's collective was considered as a means of the comprehensive development of the individual. Prominent ideologists and teachers of this period N.K. Krupskaya, A.V. Lunacharsky, P.P. Blonsky, A.P. Pinkevich, V.N. to educate only in conditions of organized joint life of children.

Of particular importance for the development of the theory of the educational team

had the experience and theoretical works of A.S. Makarenko, as well as the works

scientists-teachers O.S. Bogdanova, N.I. Boldyrev, V.E. Gmurman,

L.Yu.Gordina, I.F.Kozlova, I.P.Ivanova, M.G.Kazakina,

V.A. Karakovsky, T.E. Konnikova, V.M. Korotov, B.T. Likhachev,

I.S. Maryenko, E.N. Medynsky, A.V. Mudrik, L.I. Novikova, K.D. Radina, V.A. Sukhomlinsky and others.

If we turn to the history of the issue of studying the development of the theory of the collective, we can find that it was traditionally carried out in the form of a description of the contribution of individual personalities, usually in chronological order (S.T. Shatsky, A.S. Makarenko, V.A. Sukhomlinsky, T .E.Konnikova, L.I.Novikova and others). The device of the theory itself, its structure, trends in development have been studied far from fully. The traditional approach covered the scientific positions and views of individual scientists in sufficient detail, but did not allow us to see the picture of the development of scientific knowledge as a whole, to assess the trends in its development, to trace the relationship between the development of theory and practice, to highlight problem areas and contradictions.

Research methods - constructive-genetic method; modeling method; methods of theoretical analysis and synthesis: elemental analysis, retrospective analysis, dynamic analysis based on the development of analytical matrices to identify the main subject-problem areas, analysis of dynamics in the ideas and views of scientists, approaches to considering various aspects of knowledge about the team.

Coursework consists of two chapters, reflecting the basic concepts of the concept of the team. And from five sub-items describing in detail the formation of the team.

Leader personality requirements

The most important role in the formation and activity of the team is played by its leader. The goal-setting function is associated with determining the priority of operational and tactical goals of collective activity, determining the methods and means of achieving them. The implementation of this function requires the manager to be able to take into account the peculiarities of the current moment, the ability to find the right and adequate solution in a particular situation. The leader's inability to perform this function leads to disorganization of the team's activities. Since the goal-setting function of a leader is to plan and predict collective activities, the most effective leader is the one who is able to make the best choice from a number of possible decisions based on a predictive assessment of the situation.

The disciplinary function is associated with the need to maintain in the team in the process of joint labor activity due efficiency of performance by each member of the team of their duties, as well as following the norms of behavior accepted in the team. In the performance of the disciplinary function, the orientation towards the sole or collegial solution of issues is most clearly manifested; the degree of application of certain methods of influence characterizes the personality of the leader.

The expert-advisory function is connected, first of all, with the professional competence of the leader. In the process of collective activity, the leader is usually the person who is most often referred to as a source of reliable and reliable information or as the most knowledgeable person.

The communicative-regulatory function involves the regulation of functional-role relationships in the team and requires the manager to give the necessary explanations for certain managerial decisions.

The etymology of the word "choirmaster" originates in German and is interpreted as "chief of the choir". A representative of this profession leads the choir during rehearsals while learning the scores.

Ancient Greece is considered to be the birthplace of choral singing. The choirmaster of that time was called a luminary. At the same time, he performed the functions of an entertainer, announced the appearance of a new character, summarized the monologues of the characters, and built a connecting line between the participants in the action. He even set the rhythm of the songs performed by tapping it out.

In the 19th century, these functions were partially assigned to the headmaster, regent, cantor or bandmaster. Similar duties in singing schools and churches in France were performed by chaplains.

Over time, the art of musical performance acquired its independence and occupied a worthy niche in the field of art and culture.

In pre-revolutionary times in Russia, the training of choir conductors was carried out in several musical educational institutions Petersburg and Moscow: Court Singing Chapel and Synodal School of Church Singing.

It is a known fact from history that conductors did not always face their choir. Until the middle of the 19th century, they conducted groups with their backs to them, because it was considered bad form to stand with their backs to a respected audience. The first to break this rule was Richard Wagner, who made it a rule for the conductor to stand facing the choir.

Professional skills of a choirmaster

For complete performance professional duties the choirmaster must have an impressive volume professional knowledge. The master must be versed in the field of theory and technical skills of singing, know the specifics of the formation of different voices, have good singing training, own his own voice and various vocal techniques. Basically, they conduct with their hands, indicating pauses with gestures, places where you need to take a breath, change the tempo, and where to work on the strength of the sound.

Requirements for choirmasters

artistic taste;

sense of rhythm;

ear for music for placing choir members by parts, selecting new members and listening to them;

the skills of a psychologist in terms of organizing the work of a team of people with different temperaments, worldviews and life positions;

deep theoretical knowledge of techniques and practical skills of their application used by conductors for recording and reading works;

a variety of facial expressions and plasticity of hands (the ability to convey to the team the nuances of reproduction using gestures and facial expressions);

good physical endurance due to standing work;

good memory (choirmasters keep most of the score in memory in order to timely convey to the choir the mood, the necessary manner and other subtleties when performing each work).

Duties of the choirmaster

selection of the choir's repertoire;

setting tasks and explanatory work with the team when learning each new work;

general choral and individual rehearsals with learning the parts of new works, repeating the existing repertoire, quality control of the performance of works, work on performance errors;

tracking competitions and festivals in order to determine the participation of the team in them;

solution organizational issues with leaders, patrons or sponsors of the choir.

Currently, the training of choirmasters is carried out by conservatories, schools of culture, and the corresponding departments of pedagogical universities.

In turn, the choirmaster pedagogical activity consists of elements of assimilation and reproduction of previously formed knowledge, skills, and elements of creative activity, during which amateur performance participants learn to discover new facets and nuances in art. The acquired experience of creative activity is fixed in the minds of the participants and is reproduced in new situations as new means of solving a new, as a rule, more complex class of educational and creative tasks. Therefore, creativity is the creation of a new, original. In an amateur collective, it is most often such only for a given participant or group of participants, since in artistic and pedagogical practice it can be known. At the same time, the new is necessarily endowed with social value. It can be valuable from the point of view of the educational tasks of the team and significant for society, if the work created by the team is brought to the attention of the audience.

With the accumulation of experience, including the experience of past creative activity, participants can rise to a level where the treasury of the artistic and pedagogical culture of society is enriched.

Consequently, in the collective, artistic and pedagogical technology, as it were, includes three “tacts”. The first step is the reproduction of artistic experience, through which the artist-teacher determines the success of the previous activity, as well as the level of training, education, and development of the participants. The second step is the solution of new tasks and problems that the participants have not encountered before, which for them bear the features of creativity. Accordingly, activity in artistic technology is artistic and creative, and in training and education - pedagogical and creative. It is impossible to imagine that the participants could artistically and creatively embody and perform works without first learning how to work creatively in the process of education and upbringing. The third measure is the reproduction by the participants of the creative experience of artistic and pedagogical activity acquired in solving new problems. This moment is extremely important, since participants should be taught to be aware of the experience of past creative activity so that, relying on it, using it as new means of artistic and pedagogical activity, they could solve new problems in the future.

So, the work is learned and performed within the team. In the process of preparation, the participants gained experience that allows them to perform a work addressed to the audience (listeners) in a new stage situation. This is the culmination of the creative activity of the participants. It is here that it is revealed how much they were able to learn to freely and uninhibitedly master the performing means and, with their help, create an ideological and artistic image in a new way, endowing it with the features of their own aesthetically inspired attitude. Execution has ended. The participants take with them the deep aesthetic experiences that they acquired in the process of performing the work, they take away the feeling of the social value of their activity.

This cycle, therefore, includes three cycles, non-linearly grouped into a whole with a "chain" of changing activities: reproductive - productive - new reproductive pedagogical activity; reproductive - productive - reproductive artistic activity, and, finally, productive stage activity, completing the "circulation" of the collective's movement.

Thus, this complex composition of artistic and pedagogical activity unfolds in accordance with a mechanism that says: the source of the development of the team is pedagogical activity (with the change of reproductive activity into productive activity and from it - new educational and educational reproductive activity), which is a condition for artistic and technological activity ( with the change of reproductive activity into productive activity and from it - new artistic and technological reproductive activity), which, in turn, is a prerequisite for productive stage (performing) activity that has social and aesthetic value.

So, the mastery of pedagogical interaction between the leader and the participants of an amateur group is an inseparable unity and interconnection of pedagogical, organizational and artistic and creative processes, it has a pedagogical orientation and has a creative character and is, therefore, complex, complex.

“Our work is not only, and maybe not so much a profession ... it is fate, our fate, the fate of the people whom we help on duty. Human contact with them most often does not stop. It’s like we can’t help but communicate, help each other, live without each other.” These words, spoken by one of the Swedish specialists, fully reflect the essence of the activity of the head of the creative team, his place in society and his attitude towards his usual, but very the right profession. 1. Requirements of the leader's personality.

The concept of a team. Classification of creative teams.

Completed by: student of group 32

Specialty: "Choral Folk Singing"

Type: Solo and choral folk singing

Podstavnyagin Ivan

Course leader:

Karpova Tatyana Vyacheslavovna

Introduction……………………………………………………………………………

Chapter I. The team as a creative unit…………………………………..

I.I. The concept of "Team". His role in the organization of creative activity………………………………………………………………………..

I.2. Types of creative teams………………………………………………..

Chapter II. Children's choir and its leader…………………...

2.1. The requirements of the leader's personality………………………………………

2.2. Techniques and methods of creating a team…………………………………..

2.3. The specifics of the creation of a choral folk group…………………..

Conclusion………………………………………………………………………

List of used literature…………………………………………..

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From the beginning of the 20s. the problem of the collective was traditionally considered pedagogical, although certain aspects collective life were also studied within the framework of other sciences. From the beginning of the 60s. Interest in the collective, due to the changed socio-political conditions, manifested itself from all social sciences. Philosophy explores the collective as a social community of people in its relation to the individual, patterns and trends in the relationship of personal and public interest and their consideration in managing the development of society. Social psychology is interested in the laws of collective formation, the relationship between the team and the individual at the psychological level, the structure and development of the system of business and personal interpersonal connections and relationships. Sociologists study the collective as social system in general and as a system of a lower order in relation to a system of a higher level, i.e. to society [General Pedagogy, p. 101].

Any collective and collective activity in the life of a child plays a huge role in the individual development of the individual, his communication with the outside world. Therefore, the problem of upbringing and personal development is now becoming more acute and important than ever. The team is a group of people of a high level of development, mutually influencing each other and interconnected by a commonality of socially determined goals, interests, needs, norms and rules of behavior, jointly performed activities, unity of will expressed by the leadership of the team. There is also such a definition of the team - a group of a high level of development, where interpersonal relations are mediated by the valuable and personally significant content of prosocial activity. Children's team - a children's group in which a system of highly moral and aesthetically educating social relations, activities and communication is created, contributing to the formation of the personality and the development of the individuality of each of its members.

Creativity is a process of activity that creates qualitatively new material and spiritual values ​​or the result of creating an objectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or logical conclusion, expresses in end result some aspect of your personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production.

Creativity is:

• - activity that generates something qualitatively new, never existed before;
• - creating something new, valuable not only for this person but also for others;
• - the process of creating subjective values.

Collective - (from lat.collectivus - collective), social community people, united on the basis of socially significant goals, common value orientations, joint activities and communication [ped.enc.dictionary, p. 122].

Big Development Study children's creativity, in whatever area it was carried out, were aimed at establishing a connection between creative processes and the development of the child's intellectual abilities.

Peculiarities of children's creativity are connected with the conciseness in time of the stages of the creative act, the subjective novelty of the activity and its product, as well as the child's ability for productive self-expression. The child's creativity is a special kind of activity aimed at creating qualitatively new values ​​for him, important for the formation of the child's personality as a subject. The value of children's creativity lies not so much in practical results, which, due to the age characteristics of the child, cannot be fundamentally new, but in the fact that in the process of mastering the activity, his individual capabilities are revealed [Ursegova, p. 73]

“Conditional groups are groups united according to one of the formal characteristics (age, gender), etc.

Real groups - groups in which people are in daily life and activities.

Formal groups are groups that have an officially defined structure.

Informal groups - groups based on personal preferences.

Underdeveloped groups - groups that are at the initial stage of their development.

Highly developed groups - groups with a history, united by unity of goals, common interests, a dense network of relationships, cohesion, etc. ”[Krysko V.G., p.174].

The highest stage of group development is the collective. As a rule, it includes more than one group: both formal and non-formal, but is not only a mechanical sum of groups. And it is, therefore, a new quality of human associations. The team is characterized by: high cohesion; the presence of a contact group, high integrative unity, organization, readiness and psychological communication” [Modern psychology, p.526]. According to the concept of L.I. Umansky, the stage-by-stage development of the group is presented as a successive change of stages, characterized by qualitative differences in the degree of expression of the parameters: “orientation, organization, preparedness, intellectual, volitional communication. Cohesion, microclimate, reference, leadership, intragroup and intergroup activity also act as integral characteristics. The development of the group takes place in a continuum, the highest point of which is occupied by the collective” [Umansky L.I., p.73-74].

A comprehensive study of the creative team involves understanding the specifics of its structure, as well as the specifics of the interaction of the individual within its formal and informal structures [Krysko VG, p.183]. All sets of connections that develop in a group between individuals and microgroups are determined by the "character of the distribution of functions between members of the team" [Modern psychology, p.525]. But according to the studies of E. Mayo, they are no less influenced by the structures of formal and informal ties. Since "the informal structure of the group is the structure of connections, communications and influence that really develops in the team" [Modern psychology, p.526].

“The structure is the embodiment of the form, while the process is the embodiment of the function” [Yitzhak K.A., p.526]. Knowledge of the structure of the creative team and understanding of its functioning are necessary in the realization of its creative potential. Of course, this knowledge does not fully predict the behavior of the collective in certain cases. But to predict its direction will help.

Creative (performing) teams have all the characteristics of groups described in social psychology. A collective of this kind consists of subgroups determined by the performance (instrumentally). In the orchestra there are groups necessary for its functioning, namely, as an orchestra. Strings, winds, etc. In drama, opera, ballet groups there are functionally inherent only to them. necessary groups. Creative teams, structurally consisting of formal or informal groups are studied by means of sociology and social psychology. Given the specifics of the creative team, it is quite possible, relying on the means of social psychology, to plan its activities. And, if possible, predict the quality of his work. To achieve the goals of the creative team, its leader must understand the structure of the team, the patterns of formation of informal groups in it, which either help or hinder the activities of the creative team. Therefore, it is necessary to take into account:

• - psychological phenomena associated with the individuality of a person;
• - phenomena of communication and interaction in pairs;
• - interactions within small (up to 20 people) groups and interactions of groups with each other. The concept of "collective", its relationship with the concept of "group of people". Signs of groups of amateur creativity: voluntariness of the activity of the subject; spiritual motivation; changing the subject in the direction of greater comprehensiveness of his interests, needs, abilities; own activity and initiative of the staff; Team work.

Approaches to the classification of amateur art groups: performing groups(circles, studios, ensembles of all types and genres); groups of authors (studios); amateur associations.

Types of artistic and creative organizations: educational, creative, communicative, complex.

Forms of creative organizations: circles, studios, ensembles, amateur associations, etc.

Bases for the creation of amateur groups: club institutions; schools; centers for children and youth creativity; universities, etc.

Psychological and pedagogical guidance interpersonal communication in art groups.

Usage modern means and technologies in artistic and educational activities.