Means of socio-cultural animation in the educational process. Socio-cultural animation Animation in socio-cultural activities

1. The concept of "animation" and "socio-cultural animation"
2. General characteristics of the main methods, functions and tasks of socio-cultural animation

The term "animation" is of Latin origin. (anita - wind, air, soul; animatus- animation) and means inspiration, inspiration, stimulation of vitality, involvement in activity.

In the Tourist Terminological Dictionary I.V. Zorin and V.A. Kvartalnova Animation is an operating complex for the development and provision of special programs for spending free time.

Animation activities- this is an activity for the formation, promotion and implementation of animation programs for various purposes, providing interesting and developing leisure. Scientists argue that the development of modern civilization in our time depends not so much on scientific and technological progress, but on the improvement of man. Active assimilation of social and industrial relations by a person depends directly on cultural and moral development. This is where leisure comes into play. In modern conditions, free time is a real value. Therefore, a specialist dealing with the organization of human free time must take into account the progressive dynamics of production, the environmental danger of existence and life, the impact of new media and the growing number of leisure opportunities. One of such young branches of social psychology and pedagogy is socio-cultural animation.

In the second half of the twentieth century, the term "animation" (from the Latin anumation - to animate, inspire, spiritualize) immediately began to be used in several meanings:

1) Animation- artistic activity to create cartoons;

2) Animation- a special kind of cultural and leisure activities aimed at provoking and enhancing a keen interest in culture, artistic creativity.

As can be seen from the above definitions, the same term refers to completely different types of activities, which leads to some confusion. Perhaps it makes sense to leave the term "animation" for the creators of animated films, and in the field of socio-cultural activities to use the concept of "socio-cultural animation", which would involve the formation, promotion and implementation of leisure programs for various purposes: from relaxation and recreation to cultural, educational and creative.

Socio-cultural animation is one of the relatively young branches of socio-cultural activity.

Socio-cultural animation is a special kind of cultural and leisure activity of social groups and individuals, based on modern humanistic technologies for overcoming social and cultural alienation. Thus, the main goal of socio-cultural animation will be to overcome personal tendencies towards social disintegration (prevention of socio-psychological deviations, for example, deviant behavior of adolescents, drug addiction, alcoholism, etc.), rehabilitation of critical states of the individual and assistance to the creative self-realization of the individual.

Socio-cultural animation uses traditional types and genres of artistic creativity (theater, choreography, plastic arts) as the main methods of "revitalization" and "spiritualization" of relations between people. This is what makes it possible today to recognize social and cultural animation as the most progressive direction in the development of cultural and leisure activities.

The pedagogical aspect of socio-cultural animation is to regulate the processes of socialization and individualization of a person, that is, in social education and development, carried out in the forms of leisure activities and aimed at solving the following cultural and educational tasks:

- purposeful familiarization of a person with the riches of culture, the formation of his value orientations and the “elevation” of spiritual needs;

- stimulation of social activity, initiative and initiative of a person in the field of leisure, improving his leisure skills, that is, the ability to rationally, meaningfully and diversely organize his free time in order to maintain physical and spiritual health and self-improvement;

- creation of conditions for the identification and development of individual abilities, the realization of its creative potential and positive self-affirmation.

Summarizing the theoretical ideas of animation and the experience of organizing the socio-cultural activities of animators in France, E.B. Mambekov gave the following detailed definition: “Sociocultural animation is a part of the cultural and educational system of society and can be represented as a special model for organizing sociocultural activities:

As a set of elements (institutions, public authorities, organizations, voluntary associations, animators, audience) in permanent relationships that characterize this model;

As a set of occupations, activities and relationships that meet the interests shown by the individual in his cultural life and, especially in his free time,

As a kind of socio-pedagogical system in which the leading role is played by animators, professional or voluntary, with special training and using, as a rule, methods of active pedagogy.

Thus, socio-cultural animation can be considered as an integral socio-cultural system that has an appropriate institutional subsystem, resource base, specific content and technologies (methods) of animation activity. In this, socio-cultural animation is quite consistent with modern Russian socio-cultural activities.

There are quite a few different definitions of the concept of socio-cultural animation, one of them is given by N. N. Yaroshenko. Socio-cultural animation (animation) is a special type of social and cultural activity of social groups and individuals, based on modern technologies (social, pedagogical, psychological, cultural-creative, etc.) that ensure the overcoming of social and cultural alienation.

M. Simono gives the following definition: “Socio-cultural animation is an area of ​​social life, the participants of which set themselves the goal of certain changes in behavior and interpersonal and collective relations through direct impact on individuals. These influences are carried out mainly through a variety of activities through a pedagogy of non-directive or active methods.

After analyzing the definitions of socio-cultural animation of the above authors, we can conclude that the unifying elements of all these definitions are:

Public groups or individuals of society;

Various methods (social, pedagogical, psychological, etc.);

social behavior of people.

These elements indicate that socio-cultural animation is associated primarily with socialization.

And here, animation acts as a kind of service for organizing leisure activities, pursuing the goal of improving the quality of service for consumers of leisure services, and at the same time, it is a kind of advertising, re-attracting social and cultural enterprises to enterprises.

Socio-cultural animation covers a wide field of activity:

Animation programs during meals in the context of stylized dinners and banquets rooted in history and national traditions;

Animation programs during excursions;

Sports and recreational animation programs;

Animation programs during hiking trips;

Cultural and historical holidays, mass theatrical performances, festivals, fairs and carnivals;

Museum animation programs with a wide range of possibilities: from cultural dramatizations to historical reconstructions;

Animation programs for organizing family and corporate celebrations;

Tourist and hotel animation.

2. General characteristics of the main methods, functions and tasks of socio-cultural animation

Based on the essential properties of socio-cultural animation, on their content characteristics, it is possible to determine the basic structure of the functions of socio-cultural animation:

The function of recreation - involves the restoration and development of the physical and spiritual forces of a person in the process of rest;

The relaxation function is responsible for restoring the energy costs of the individual, relieving stress, tension, for returning to a state of peace of mind;

The communication function is implemented as a way of "revitalization" and "spiritualization" of interpersonal and intergroup relations, forms productive communication, enriches the experience of interaction in society;

The function of adaptation is realized as a process of psychological adaptation to new living conditions, social norms and rules, a system of values, promotes the development of orientation skills in the social environment;

The correction function involves the implementation of the mechanism of "correction" of the internal state, as well as overcoming negative moods and emotions, anomalies in the development of the personality;

The function of regeneration is realized in the process of socio-cultural animation through the restoration and accumulation of positive emotions, the creation and preservation of a good mood;

The function of reconstruction is realized by recreating and reproducing forgotten sensations, emotional states of the soul; contributes to the revival of comfortable states of the soul in the process of animation, as well as the resumption of social and spiritual ties between the individual and society [Kurilo L.V., p.67].

Among basic principles, on the basis of which the animation work is built, N. N. Yaroshenko identifies the following:

Man must be studied and accepted in his totality;

Each person is unique, so the analysis of individual cases is no less justified than statistical generalizations;

A person is open to the world, a person's experience of the world and himself in the world is the main psychological reality;

Human life should be considered as a single process of becoming and being of a person;

Man is endowed with potentialities for development and self-realization, which are part of his nature;

A person has a certain degree of freedom from external determination due to the meanings and values ​​that guide him in his choice;

Man is an active, intentional, striving for self-actualization, creative entity.

In addition to the principles of socio-cultural animation, N. N. Yaroshenko also highlights her tasks:

Comprehensive assessment of the crisis situation, assistance in the individual's understanding of the value subtext of the situation (what is good and what is bad);

Help in determining and understanding what course of action in a particular situation is appropriate to achieve the desired goal;

Bringing the personality to the need to realize the irrational subtext of the situation, i.e. the forces that stand behind the openly manifested desire, the awareness of one's own unconscious desires;

Identification and assistance in realizing the real possibilities between which there is a choice;

Help in understanding the consequences that a decision will entail in a particular case;

Bringing the individual to the realization that awareness as such cannot change a crisis situation without the will to act.

The task of socio-cultural animation is not only to study the conditions that lead to a particular development of a person, but also to identify socio-cultural technologies and methods that can be used to promote favorable development and overcome negative trends.

Socio-cultural animation allows solving the problems of providing conditions for the comprehensive free development of the individual, his creative self-expression, and also creates conditions for effective control in the field of culture.

The program animation impact on a person during his leisure in a complex solves the problem of formation, development, preservation and restoration of his health: somatic, physical, mental and moral. It is these types of health that determine the typology of sociocultural animation directions, which is presented in Table 1.

Table 1 - Typology of socio-cultural animation directions

In each of the above types of animation programs, various forms of animation activity can be used, which are presented in Table 2.

Table 2 - Typology of animation classes

These types of animation programs have an economic and social effect, which includes:

1. Saving working time and reducing the cost of medical care by reducing the stay in the hospital and clinic.

2. Reducing temporary disability through the prevention of morbidity;

3. An increase in the volume of production and national income due to:

Increasing labor productivity;

Reducing mortality in working age.

The methodology for a comprehensive assessment of the socio-cultural situation of the life of individuals, social groups is based on a holistic study of:

a) the state of the social conditions of the life of the individual;

b) the psychophysical state of the individual (tests of intellectual development, self-assessment, etc.)

c) the state of socio-psychological relations in the process of joint activity (sociometry, interpersonal diagnostics by T. Leary, etc.);

d) value-semantic relations of the individual.

e) promising programs of socio-cultural animation (work with the population of a local territorial and cultural entity; animation in single-parent families, with talented, gifted children; animation work at the place of residence, etc.)

Thus, socio-cultural animation plays the role of stimulating a full-fledged recreational, leisure activity of a person by influencing his vitality through inspiration, spiritualization. This type of activity has already become an integral part of the life of a modern person.

Lecture: "Recreational animation programs: Essence and typology"

Recreation involves the inclusion of a person in specific activities that enrich the personality. This circumstance is the main significant difference between recreational and leisure activities, since leisure activities do not have a pronounced value orientation, since it can include both positive and negative types of activity that destroy the personality (for example, hooliganism). However, recreational are only activities that create a healing, restorative effect, that is, constructive, positive, socially justified activities. Recreational activities are leisure activities that are enjoyable and socially acceptable.

In the "Encyclopedia of Tourism" recreation is defined as "1) the expanded reproduction of human strength (physical, intellectual and emotional); 2) any game, entertainment, etc. used to restore physical and mental strength; H) the fastest growing segment of the leisure industry associated with the participation of the population in outdoor activities, falling mainly on the weekend; 4) restructuring of the body and human populations, providing the possibility of vigorous activity under various conditions, nature and changes in the environment.

The concept of "recreation" is closely related to the concept of "rest".

Rest - this is a means by which the restoration (recreation) of a person’s strength and working capacity takes place (for example, doctors consider sleep to be the most productive rest). Thus, leisure is only a part of recreation, since it does not include time for sleep and other indispensable costs that can be called recreation.

In human activity, it is of interest cultural leisure , which can be considered as a creative process: free choice of cultural activities, artistic creativity, familiarization with the best examples of art, tourism, self-organization of leisure.

There are many different typologies of modern leisure. The most significant of them: the division of leisure into active; daily, weekly, vacation, holiday; home and out of home; individually organized and collective-organizational.

The concept of "animation" is very closely connected with the concept of "leisure" in our time.

The difference between the concepts of "animation", "recreational animation", "hotel animation", "tourist animation" is associated with the variety of existing forms and programs of leisure animation activities. This diversity affects not only the hotel business, in the formation of tourist routes, but also in general in the organization of people's leisure in modern life: Therefore, we can talk about animation programs of city and municipal, club and park, industrial and educational institutions. Here we will talk about recreational, tourist and hotel animation, so we will distinguish between these concepts.

Figure 1 - Animation typology

Recreational animation - a type of leisure activity aimed at restoring the spiritual and physical strength of a person. Programs implemented for recreational purposes can be carried out by both tourist enterprises with tourists and guests, and leisure institutions with local residents. This gives us the right to assert that the concept of "recreational animation" is wider than the concepts of "tourist animation" and "hotel animation".

Tourist animation- this is a kind of tourist activity carried out at a tourist enterprise (tourist complex, hotel) on a vehicle (cruise ship, train, bus, etc.) or at the place of stay of tourists (in a city square, in a theater or city park, etc. .), which involves tourists in a variety of activities through participation in specially designed leisure programs. In other words, tourist animation is a tourist service, in the provision of which the tourist is involved in active action. When preparing animation programs, such features of tourists as nationality, age, gender, number (individual, group, mass), as well as the active participation of tourists are taken into account.

Tourist animation is divided into three main types according to the importance, priority and volume of animation programs in the overall travel program (in the tourist product):

First type. Animated tourist routes - targeted tourist trips for the sake of one animation program, or a continuous animation process deployed in space in the form of travel, moving from one animation service (program) to another, which are provided in different geographical points.

In this case, the animation program is a target, priority and dominant in the tour package of services, not only in terms of physical volume, but also in terms of content that stimulates mental strength. Such an animation program is a pricing factor in the tourist product. Typically, such programs are intended for individual tourists or homogeneous tourist groups united by a common interest (professional, hobby).

Such animation programs include: cultural, educational and thematic, folklore and literary, musical and theatrical, art history and science, festival, carnival and sports, or, for example, tours to casino centers located in different countries, organized for casino game lovers .

Second type. Additional animation services in technological breaks - programs designed to "support" the main tourist services specified in the tour package, and operating in circumstances caused by relocations, travel delays and in cases of bad weather (when organizing sports and amateur tours, at beach resorts), as well as in in case of lack of snow at ski resorts, etc.

Third type. Hotel animation - a comprehensive recreational service based on personal human contacts of the tour animator with the tourist and their joint participation in the entertainment offered by the animation program of the tourist complex. This type of animation aims to implement a new philosophy of hotel service - improving the quality and provision of services and the level of tourist satisfaction with their vacation. In the marketing strategy of the hotel, such animation is used as one of the main attractive services.

Hotel animation is the narrowest concept of the three considered, since it involves only the organization of leisure in tourist accommodation places: tourist complexes, hotels, hotels, camp sites, etc. In other words, hotel animation is a leisure activity offered by hotels, hotels, tourist complexes. This is the most significant part of tourist animation. Animation programs differ with different organization of recreation (in clubs, hotels of different target orientation and different sizes).

Types of animation as elements of animation programs.

From the point of view of a systematic approach, tourist animation is the satisfaction of specific tourist needs for communication, movement, culture, creativity, pleasant pastime, entertainment. rest is a journey, for others it is reading books, walking in the forest, fishing, etc. According to the demand and motivation of travel in the practice of tourist services, the following are formed: animation types, satisfying the various needs of tourists (vacationers):

- animation in motion– satisfies the need of a modern person for movement, combined with pleasure and pleasant experiences;

- animation through experience- satisfies the need for a sense of the new, unknown, unexpected when communicating, discovering, as well as overcoming difficulties;

- animation through communication– satisfies the need to communicate with new, interesting people, to discover the inner world of people and to know oneself through communication;

- animation through sedation- satisfies people's need for psychological relief from everyday fatigue through calm, solitude, contact with nature, as well as the need for peace and "idle laziness";

- cultural animation– satisfies the need of people for the spiritual development of the individual through familiarization with cultural and historical monuments and modern examples of the culture of the country, region, people, nation;

- creative animation- satisfies a person's need for creativity, demonstrating their creative abilities and establishing contacts with like-minded people through joint creativity.

Real animation programs are most often complex in nature, and the listed types of animation are the constituent elements of these programs. Therefore, we have the right to call them recreational animation programs. Recreational and animation programs along with purely entertaining activities include a variety of sports games, exercises and competitions. This combination makes these programs more intense, interesting and useful for strengthening and restoring health, therefore, in the interrelation of animation and sports, the greatest restorative effect is most often achieved.

Animation- this is a kind of service for organizing and conducting leisure programs, pursuing the goal of improving the quality of service, and at the same time, it is a kind of advertising, re-attracting guests and their friends to social and cultural institutions.

The ultimate goal of animation is the satisfaction of a person with rest - his good mood, positive impressions, restoration of moral and physical strength. This is the most important recreational function of animation.

Throughout the history of human existence, there are connections between entertainment and leisure activities, from the most ancient times to the present day, but the prerequisites for the emergence of recreational and animation programs in their modern sense are the negative consequences of industrialization and urbanization, in accordance with Figure 2.

Realities of everyday life (everyday life)		Consequences of everyday life		The reaction of people to everyday life as a source of the birth of tourist demand for animation services
Industrialization Urbanization		Pervasive technical environment Ecological pollution Monotony of work Increased life loads Physical and mental fatigue Lack of time and energy for creativity and favorite work Increased population density Break with nature Fatigue from the bustle of the city Plurality of random connections		Desire: - to leave the city for nature; - diversify impressions, touch spiritual values; – to know and meet new people; - to move and develop; - communication, competition, etc.

Rice. 2. Prerequisites for the emergence of animation

“The consequence of rapid technical development (industrialization) is such factors as the widespread technical environment and environmental pollution, the monotony of work, physical and mental fatigue, lack of time and energy for creativity and a favorite thing (hobby). Urbanization has also created various negative effects: increased density of the urban population, increased life pressures, fatigue from the multiplicity of random, superficial (anonymous) human contacts in the urban environment.

The reaction to these negative consequences is the desire to leave the city for pure nature, touch spiritual values ​​(history, culture, art), diversify life experiences, eliminate physical and mental fatigue, learn new things, new people, find and express yourself in communication with them. to be among your relatives in an atmosphere of relaxation and entertainment. And as a result of this, there is an increased demand for services such as various types of amateur sports tourism, hobby tours, ecological nature-oriented walks, sightseeing and entertainment programs, sports and entertainment, and medical and rehabilitation services. Thus, the change in the lifestyle, lifestyle of a modern person, the nature of his labor activity in connection with industrialization and urbanization has led to a change in his needs for recreation and, accordingly, to a change in the content of leisure.

The organization of such recreation is associated with the formation and implementation of such entertainment programs (recreational and animation programs) that would distract a person from everyday life problems, carry out his emotional discharge, being not only a means of getting rid of fatigue, but also a means of neutralizing the negative aspects of everyday life.

So, recreational and animation programs are complex leisure programs that provide an opportunity to take a break from everyday life problems, conduct emotional relaxation, neutralize the negative aspects of everyday life through the use of various types of animation.

		Recreational animation
Leisure animation (with locals)				Tourist animation
Educational animation		Value-Based Animation		Practically transformative animation		creative animation

Rice. 3. Typology of leisure animation

cognitive activity characterized by the assimilation of information and the acquisition of new knowledge as a result of participation in discussions, circle classes, theme evenings, lectures, ceremonies, rituals, etc.

Value-oriented activity allows you to acquire, consolidate or modify your attitude to the world around you, the assessment of social phenomena, your own and other people's actions.

Practically transformative activity always aimed at the creation and transformation of personality on the basis of practical real actions.

Creativity inherent in all types and forms of leisure activities, it is all-pervasive. At the same time, creative activity is also autonomous when it is directly related to art.

The content aspect of the social functions of leisure animation is realized depending on the actual state of a particular socio-cultural institution, on the completeness and consistency of its interaction with the environment. The structure of the state structure determines the value-oriented base of culture. Consequently, the more valuable a person's life became, not reducible to utilitarian activities, the more reason to talk about cultural leisure. At the same time, the latter is understood not simply as free, i.e. idle, time, but time for the implementation of significant for the individual, for its self-realization forms of activity.

Leisure animation is one of the most important means of realizing the essential forces of a person and optimizing the socio-cultural environment surrounding him. In leisure activities, as a rule, there are moments of transformation, cognition and evaluation. Since leisure animation is multilateral in nature, corresponding to the diversity of needs, interests and demands of members of society, its social functions are determined by the social purpose and structure of society.

Of the three main recreational functions, leisure animation is designed to directly perform two functions - sports and recreational and educational. “In the practice of animation, for the purposeful design of animation programs, the following animation functions can be distinguished:

1. adaptive, allowing you to move from everyday environment to free, leisure.

2. Compensatory liberating a person from the physical and mental fatigue of everyday life.

3. stabilizing, creating positive emotions and stimulating mental stability.

4. wellness, aimed at restoring and developing the physical strength of a person, weakened in everyday working life.

5. information, allowing you to get new information about the country, region, people, etc.

6. educational, allowing to acquire and consolidate as a result of vivid impressions new knowledge about the world around.

7. perfecting, bringing intellectual and physical improvement.

9. hedonistic(pleasure, enjoyment). If classes are useful, but not enjoyable, they will lose a significant amount of attractiveness for visitors, and with it, a part of the usefulness itself.

Such a variety of functions of the animation service has also led to a variety of types of leisure animation, as well as a large variety of animation programs and events.

The social functions of leisure animation are such that significant groups of people are involved in their implementation: organizers of cultural and leisure programs, activists, members of various circles, amateur associations and interest clubs, and the audience themselves. Influencing the inner world and the way of action of a large number of people, leisure animation thus affects the surrounding reality, becoming an important link in social life. At the same time, the formative impact of leisure animation should be specially organized, carried out according to a specifically developed program by people who have professional training. A modern specialist in a socio-cultural institution is “a highly professional leisure organizer”. First of all, it should be said here about the interest in the chosen profession, about the inclination to work with people at leisure, about the awareness of one's high calling. Unfortunately, very often young men and women, knowing only the external side of this work (thunder of applause at a concert, often upbeat atmosphere of holidays held in clubs and parks, flowers and music, a fun disco program, cozy rooms, etc.), mistakenly believe that they are literally made for this profession. The ability to stimulate and direct the activities of people, to notice and seize their useful initiative in time, to arouse the interest of the population in socially useful activities is the basis of professional excellence.

The practical activity of a socio-cultural institution is built along the lines of work, while using various means to achieve the goal. Based on this, it is possible to name the functions, directions and means. In carrying out these functions, a socio-cultural institution fulfills its social purpose. This process is nothing more than the implementation of leisure animation programs in a certain way, created on a specific topic, with a deep socially significant content.

Performing this or that function, a socio-cultural institution, firstly, acts as a spatial-organizational base for information and educational, artistic, journalistic, cultural and entertainment activities. Secondly, it organizes and conducts educational and educational events on the initiative and with the participation of activists, members of club associations. In terms of content, it is this branch of activity of a socio-cultural institution that is the most multifaceted and rich in content. The same part of the activity covers the most massive audience, on which the activity of not only a socio-cultural institution, but also all organizations interested in creating a specific animation program “closes”.

Creation, consolidation of organizational, creative, performance, propaganda, research and other tasks that cannot be strictly "fit" into the listed functions, but are also very important. This applies primarily to festive and ritual programs. Their task is “social registration of key points” on the life path of an individual or a team.

A holistic system of leisure animation should be considered as a process of constant development in the inseparable unity of theory, organization and methodology. In this system, one should distinguish not only a clear structure, a set of interrelated and interacting elements fixed at any particular moment, but also its pronounced dynamism in the development and improvement of each element. In addition, it should be understood that the leisure animation system includes such complex components that are themselves independent systems: it is a network of social and cultural institutions of various types (club institutions, parks of culture and recreation, museums, libraries, leisure centers, cultural complexes, youth cafes, nightclubs, etc.); local authorities and middle and senior management; scientific, secondary and higher educational institutions, institutes and advanced training courses for cultural workers; material and technical base of cultural institutions.

The most effective institution in leisure animation is a social and cultural institution of the club type. In club-type cultural institutions, leisure animation becomes systematic and acquires a creative character. The behavior of a person in the sphere of leisure, due to his mentality, allows us to conclude that in leisure animation the personality appears exactly as it could become under other circumstances.

Recreational (restorative) and sports and health technologies are designed to ensure and maintain human viability. They are universal in their use in the process of socio-cultural activities.

Modern recreational methods are based on the psychological and pedagogical patterns of entertainment and gaming, sports and recreation, artistic and entertainment activities. In the process of developing most recreational projects aimed at improving the quality of life and improving life, the main attention of specialists is focused on introducing the latest achievements in biology, physiology, psychology, and medicine into the practice of mass and specialized leisure.

A special place in recreational techniques is occupied by animation socio-cultural technologies. The experience of Western countries, primarily France, where these technologies are widely used, testifies to the undoubtedly significant possibilities of socio-cultural animation. Using various types of artistic creativity as methods of "revitalization" and "spiritualization" of relations between people, socio-cultural animation is one of the most attractive types of leisure activities based on modern principles. The purpose of animation technologies has a pronounced humanitarian orientation - to prevent the alienation of the individual in the culture of society, in the structure of social relations.

Socio-cultural animation was born and formed under the influence of philosophical, psychological, medical, pedagogical views and views on the nature and essence of man. The main subject of socio-cultural animation has always been and remains the personality as a unique integral system, which is an "open possibility" of self-actualization, inherent only to man.

There are two types of professional animators: leaders-coordinators and specialist teachers who lead circles and studios, teach courses, engage in social and cultural activities at the place of residence, and provide psychological support in the structure of everyday social relations. The content of animation technologies includes a comprehensive assessment of a crisis situation (“good or bad”), assisting in determining and understanding which of the methods of action in a given situation is suitable for effectively achieving the goal, understanding real opportunities and their choice, understanding the likely consequences of one or a different solution (what happens in a changed situation).

The creation and alternation of long-term "end-to-end" entertainment programs in leisure institutions implies the consistent development of the activity of participants in gaming, entertainment, ritual-holiday, sports and other events. The methods of bioenergetics, rebirthing, shaping, art therapy and others are put at the service of recreation (restoration). In the musical-meditation and theatrical-health programs, the specific possibilities of conversational psychotherapy, bibliotherapy, and psycho-gymnastics are realized.

The organization of recreation and entertainment carries a significant social, educational, psychological, rehabilitation burden. The content side of recreational technologies is constantly expanding and enriching by attracting the traditions of folk leisure culture, reviving old and cultivating new folk holidays, rites and rituals - Christmas events and humor, days of laughter and carnivals, literary, artistic, sports tourism and family holidays, holiday flowers and the holiday of Russian tea, days of cities and other events.

The organizer of social and cultural activities very often has to deal with the method of family leisure - the study of preferences for leisure forms of individual family choice of leisure activities, the creation of conditions for professional programming and the implementation of alternative types and forms of organizing free time in family communities.

Methods designed for children and adolescents, dynamic youth categories, middle-aged and elderly people require the same close attention. Technological aspects are discussed in detail in special courses.

Social policy is aimed at creating the most favorable, optimal conditions for recreation, development of spiritual and creative abilities of people. Social and cultural work with vacationers of health resorts (resorts, sanatoriums, houses and recreation centers, dispensaries) and tourists (at tourist bases and motor ships, in tourist hotels and tourist trips) is also subordinated to these goals.

A distinctive feature of the organization of leisure in sanatorium-resort, sports and recreational and tourist-excursion centers is the integration of recreation, health promotion, spiritual enrichment and versatile development of the individual.

Within the limits of the recreational, health-improving, medical period established by the voucher, vacationers are outside their permanent residence and are not directly related to their main profession. In addition, vacationers in health resorts and camp sites differ in age, nationality, profession, social status, and education. All this, as well as the limited stay in a health resort or on a tourist route, leads to the fact that the leisure community that arises here is of a transitory nature. A relatively stable group consists only of medical and service personnel of health-improving institutions, the indigenous inhabitants of the resort. It is these categories of the population that form the main "backbone" of the organizers and participants of long-term leisure programs, constant cycle forms of education, creativity, entertainment, amateur groups and studios.

The information-developing, educational function of leisure activities aims at information and organization of people's cognitive activity, dissemination of a complex of various social and humanitarian knowledge, health education, instilling active recreation and physical culture skills, familiarization with the therapeutic possibilities of health resorts and their most rational use.

Recreational leisure functions

The recreational function maximally contributes to the full rest of people, the restoration of their physical and spiritual strength, the organization of active leisure activities and entertainment, providing a variety of activities, a change of impressions, a positive emotional mood, relieving stress and fatigue.

In leisure programs for vacationers, all these functions are closely interconnected and complement each other. There are a number of features in their implementation. Cultural and leisure activities in health resorts and tourist institutions are built in accordance with their main purpose - the restoration of strength and health of people. That is why the recreational therapeutic function of leisure and leisure activities is of paramount importance here.

Due to the continuity and duration of the entire period of vacation or treatment of people, the leisure program in health resorts and tourist institutions is diverse, provides for the unity of information-developing, communicative and recreational elements, is carried out at different times of the day, for example, not only in the evening, but also in the morning. and daytime hours. The logic of leisure here implies a transition from the simplest leisure activities, when a person only needs to relieve tension and psychologically relax, to more saturated, active, intense forms.

In terms of its orientation, the content of leisure in health resorts and tourist institutions includes: concert, entertainment and film services; library work; theatrical and sports festivals; organization of Q&A evenings, oral magazines, themed evenings, discos, gaming competitions, etc.

Among leisure forms, excursions have the greatest information and developmental content. According to survey data, the majority of vacationers in health resorts and tourists consider excursions to be the most favorite events. The popularity of the tour is due to a number of reasons.

This is, firstly, a wide variety of topics and content: excursions on historical topics, natural history (landscape, botanical, geological, hydrogeological, etc.), literary and art history, on architectural and urban planning topics, overview (multifaceted) business, commercial, which acquaint representatives of business circles with the activities of industrial, agricultural and commercial enterprises. For vacationing young people, among whom many will have to choose their own path in life, such excursions are also career guidance.

Excursions attract with a variety of elements of recreation and recreation in nature (swimming, picking berries and mushrooms, etc.) and modes of transportation, since walking tours and excursions-walks are supplemented by transport (bus, boat, plane, horseback, bicycle and ski, etc.). etc.), often over long distances and along a well-defined theme and route. Excursions contribute to the formation of community, the formation of interests, collectivism and camaraderie, and a change of impressions helps to create a favorable emotional atmosphere in the group.

Concert, entertainment and film services include concerts and performances by professional and amateur groups, reviews, festivals and competitions, meetings with literary and art figures, evenings on various topics, film screenings, film concerts, etc.

Library services are also an important part of cultural work. When compiling book collections, much attention is paid to the selection of local history publications - reference books, guidebooks, books about nature, the historical past, the economy, the culture of the region, as well as fiction. Simultaneously with individual work with readers, literary readings, literary evenings, reader conferences and book discussions are organized, book reviews on certain topics and bibliographic reviews, book exhibitions are held, newspaper windows are arranged, posters are hung out. The main thing is a set of active recreational activities in through leisure programs, which are characterized by a relatively long duration and involve consistent participation in entertainment, games, sports and recreation, ritual, festive and other leisure activities. The involvement of specialists in this work allows us to adopt the methods of bioenergetic recovery, oriental health systems, cosmic bioenergetics, rebirthing, shaping, musical healing, etc.

In everyday life there are specially equipped rooms for psychological unloading, which include autogenic training, interpersonal training, suggestion, rest-hypnosis, and health-improving psycho-corrections in the content of their sessions. The specific possibilities of musical-medial and theatrical-health programs, conversational psychotherapy, bibliotherapy, psycho-gymnastics are realized.

There is every reason to believe that in the near future, non-traditional forms of recreational and health-improving activities carried out by professional doctors, psychologists, and sports coaches will be more actively mastered. This will include, first of all, schools of extrasensory bioenergetics, aimed at opening energy centers, biofield diagnostics, correction of the human biofield structure; courses on teaching methods of muscle relaxation and mental self-hypnosis; centers of collective meditation, whose activities are aimed at eliminating extreme emotional manifestations and bringing the psyche into a state of relaxation; free breathing groups that help to master psychotechnics, which allows a person to maintain clarity of thinking in stressful situations, quickly restore emotional balance, and more fully realize their creative potential; special medical and health-improving catering establishments, the cuisine of which is based on the use of publicly available sedatives that cause relaxation and soothe the nervous system, etc.

Pedagogical game technologies

In a number of recreational and health-improving technologies, a significant place is occupied by an extensive gaming activity.

As pedagogical practice testifies, any technology has means that activate and intensify the activity of the audience. There are technologies where these tools constitute the main idea and the basis for evaluating the effectiveness of the results. These technologies include pedagogical game technologies.

Of all the known types of socio-cultural activity, the game appears to be the most free activity. Freely entering the game, its participant is also free to leave it. This "game" rule applies to the most common everyday situations - market relations, study, sports, family relationships, etc.

In other words, essentially recreational gaming technologies demonstrate the productive socio-cultural activity of independent subjects, which is carried out within the framework of conditional rules voluntarily assumed and has many attractive qualities - socio-psychological, aesthetic, hedonistic, moral and ethical.

As a recreational technology, the game has well-known pedagogical and organizational and methodological advantages. It allows you to significantly reduce the time for the accumulation of the necessary information, the acquisition of certain skills and abilities; contributes to the imitation of various types of social activities, expands the scope of contact of the individual with various social groups, organizations and movements, familiarization with many genres of art and literature. By intensifying the self-reflection of the individual, the game is an effective tool for deepening the democratic nature of communication, cooperation, and social dialogue.

S.A. Shmakov identifies the following main methods of organizing children's leisure (49, pp. 67-69):

Methods of the game and game training. The game is an independent and very important type of activity for children, equal in rights with all others. A game can be a form of non-game activity, an element of a non-game business. The game, like a fairy tale, a cartoon, is repeated many times in a child's life, becoming his educational training. Sh. Amonashvili foresaw that by the end of our century, the goal of pedagogy would not be the "general development" of children, but the disclosure of the creative potential of each child.

Theatrical methods. Children's leisure has an infinite number of subjects and social roles. Informal communication of guys can be in the form of a party; "blue light"; evenings by candlelight; "marine wardroom"; Russian "gatherings", "semechnikov", "zavalinka", "theatrical living room", evenings of Russian (any) cuisine; birthday feast; etiquette evenings; collective birthday; "cabbage"; "zucchini 13 chairs"; "dance of friends"; "holiday evening", etc. etc.

According to A.V. Sokolov, depending on the intended purpose and psychological context, gaming technologies can be divided into several behavioral types.

The most common in gaming technologies is the adversarial method. Its essence lies in the struggle for excellence in sports competitions, gambling, lotteries, erudite competitions, providing opportunities for using one's chance. The main game gain here is the feeling of victory and self-affirmation. Competition is a purely childish privilege, competition is an internal “spring” for unwinding creative forces, stimulating search, discovery, and victory over oneself. The competition extends to all spheres of the child's creative activity, except for moral.

A game-fairy tale is a kind of game technology in terms of content. In this technology, the main emphasis is shifted to psychological relief, going into illusion, hedonistic sensations, which to a certain extent borders on self-manipulation. Both primitive and modern folklore is built on "fabulous-game" technologies.

Quite remarkable are the entertaining and gaming technologies of the “masquerade game” type.

Content

Introduction…………………………………………………………………………..….2
1. The concept of socio-cultural animation………………………………..….6
2.2. Tasks of social and cultural animation…………………………………….…8
2.3. Animators ………………………………………………………………….…10
Chapter 3 Animation Directions
3.1. Animation for the unemployed…………………………………………….… .….12
3.2. Animation for the elderly………………………………………………………….15
3.3. Animation in tourism……………………………………………………… …...16
3.4. Sports and recreation direction of animation………………………. eighteen
3.5. Types of animation programs…………………………………………….... 20
3.6. Technology for creating animation programs……………………………..21
Conclusion……………………………………………………………………………….23
References………………………………………………………………..…..25

Introduction
According to experts, at present, the inclusion of animation programs of a cultural, educational, sports, tourist, and entertainment nature in the content of tourist routes and trips, in the operation of hotels increases their prestige and demand in the tourist services market.
Having fun, a person or a group of people satisfies his spiritual needs, evaluates his own personality, analyzes his role on the scale of various subsystems. Entertainment processes are carried out both in natural and artificially created environments.
The entertainment industry aims to create conditions for entertainment, i.e. a set of phenomena on the presence of which the process of entertainment depends.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of needs under the prevailing prerequisites. The entertainment industry, solving multifaceted tasks (first of all, education, the formation of an optimistic mood, education, recreation, the development of a person’s culture), essentially forms and develops a person. Filling with entertainment, a person restores himself as a labor unit as part of his free time.
The entertainment sector in the world practice includes tourism enterprises, including tourist accommodation facilities. A number of enterprises, organizations, institutions provide entertainment in the form of their non-core activities. In addition to hotels, these include recreation areas and historical sites.
The entertainment industry acts as an independent, relatively isolated link in the economic system, attracting significant material, financial, and labor resources. In this regard, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
The study of tourists as consumers of the specific results of the entertainment industry is certainly of great importance. Special activities are also carried out that purposefully evoke the corresponding emotions. The patterns of consumption of entertainment products should be studied in relation to the previous lifestyle of a person.
The purpose of the work is to study the relationship associated with the process of social and animation services. The object of research is the process of animation itself.
The subject of the research is modern technologies and animation methods and techniques that ensure the overcoming of social and cultural alienation.
To achieve the goals of this work, it is necessary to define the following tasks:
- the concept of socio-cultural technologies;
- study of the concepts of socio-cultural animation, definition of its tasks;
- study of animation directions.
The structure of this work consists of: introduction, three chapters, including ten paragraphs, conclusion and bibliography.

The concept of socio-cultural animation
The concept of animation. Socio-cultural animation (animation) is a special kind of socio-cultural activity of social groups and individuals, based on modern technologies (social, pedagogical, psychological, cultural-creative, etc.) that ensure the overcoming of social and cultural alienation.
Socio-cultural animation can be considered as an integral socio-cultural system that has an appropriate institutional subsystem, resource base, specific content and technologies (methods) of animation activity. In this, socio-cultural animation is quite consistent with modern Russian socio-cultural activities.
The French1 theorist of social and cultural animation, director of one of the research centers of the National Institute of Public Education (INEP) R. Laburi notes that the phenomenon of animation has a dual meaning, being both a method of adaptation, social therapy and an ideology of liberation through participation.
Describing the definitions of socio-cultural animation known to him, R. Laburi noted that most of them have a pedagogical meaning, implying the focus of animation on the growth of self-awareness, active self-development and social creativity. Such a pedagogical orientation corresponds to the general tasks of social and cultural improvement. He identifies two most common approaches to interpreting the essence of socio-cultural animation.
The first approach is pedagogical, which allows us to consider socio-cultural animation as a certain level of social education. This emphasizes, on the one hand, the growing role of the animation apparatus, its activity, the service of visitors, the strengthening of the position of professional workers, i.e. the importance of the external impact of educational technology. On the other hand, animation is a way of creating and developing a group that forms its own community of values, interests, actions and creates its own social project. That is, animation is a technology of subtle initiating influence at the level of internal resources of self-development of an individual and a group.
The second approach is sociological, connected with the main ideological currents of French sociology. For some, the function of animation is to unlock social bonds, establish warm, trusting relationships. Others see its function in accordance with the traditions of French culture in teaching and mastering the great languages ​​of thought, aesthetics, poetics, economics, etc.
Commenting on these conclusions of R. Laburi, we can point out that pedagogical and social aspects are merged in the definition of animation. Such a connection creates a special quality of animation activity, which is both a process of education (of an individual and a group) and a process of social creativity (creation, development and preservation of a system of productive social ties between an individual and a group).
Such a detailed definition as a whole fairly reflects the specifics of animation activity, which manifests itself at the organizational, activity and methodological (technological) levels. At the same time, one cannot limit the essence and specifics of this phenomenon to only external manifestations, because a very important component of socio-cultural animation is its spiritual, ideological potential.
The very concept of "animation" allows, on the one hand, to accurately characterize the goals of sociocultural activity, to identify its inspiring, consolidating nature, and on the other hand, to designate the actual spiritual (anime - soul) aspect of the relationship between the subjects of the pedagogical process. We are talking about special ways of communication, dialogue filled with genuine sympathy, empathy, assistance, as well as pedagogical technologies based on a deep appeal to the highest spiritual values ​​of truth, goodness, beauty.
In modern pedagogical science, the use of the concept of animation is associated primarily with the second aspect, i.e. it is used mainly to characterize the system of developing and developing social relations.
R. Laburi concretizes the concept and expands the field of action of socio-cultural animation. For him, socio-cultural animation is “an activity carried out by uniting individuals who independently determine its content and purposeful social, cultural, educational activities outside of working hours. This is mainly the area of ​​voluntary associations or semi-public institutions. It was here that the concept of “sociocultural animation” was born, the semantics of which expresses the desire to make culture more accessible, linking it with the phenomena of the life of the collective, pushing the boundaries of cultural life to the problems of everyday life.
Animation in the generally accepted sense of the word is considered a certain type of activity, pursuing the goals of developing and presenting special programs for spending free time. Animation programs include sports games and competitions, dance evenings, carnivals, games, hobbies, spiritual activities, etc.
Socio-cultural animation is a special kind of socio-cultural activity of social groups and individuals, which is based on modern technologies (socio-pedagogical, psychological, cultural-creative, etc.) that ensure the overcoming of social and cultural alienation.
Socio-cultural animation technologies offer in the form of the main ways of "revitalization" and "spiritualization" of relations between people, the extensive use of public spiritual and cultural values, traditional types and genres of artistic creativity, thereby providing the individual with certain conditions for inclusion in creative, health, educational , entertainment and other types of social and cultural activities.
In the process of entertainment, a person or a group of people satisfy their specific spiritual needs, evaluate their own personality, and also analyze their role on the scale of various subsystems. A variety of entertainment processes can occur in both natural and artificially created environments.
The main goals of the entertainment industry is to create certain conditions for entertainment, otherwise, the totality of phenomena, on the presence of which the entire entertainment process will depend.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of people's needs under the prevailing prerequisites. Dealing with the solution of multifaceted tasks, such as education, the formation of an optimistic mood, education, as well as recreation, the development of human culture, the entertainment industry, in essence, forms and develops a person. Filling with entertainment, a person restores himself as a labor unit as well.
The entertainment industry is an independent, relatively isolated link in the economic system, attracting quite significant, both material and financial and labor resources. In this issue, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
Socio-cultural animation is one of the main links in the general entertainment industry, using specialized techniques and techniques.
Socio-cultural animation is a pedagogy of understanding and mediation, designed to establish relationships of equality that overcome hierarchical subordination, to establish relationships based on greater freedom and independence, to provide individual choice in activity, creativity and communication.
Modern technologies of socio-cultural animation involve a comprehensive solution to various problems of the individual, providing it with the possibility of self-identification as a full-fledged representative of a particular socio-cultural, leisure community, as well as conditions for inclusion in educational, creative, health and other types of socio-cultural activities.
At the same time, we are talking about overcoming social isolation, psychological alienation not only of the disabled, but also of many other categories of the population. In all social and age strata of society there are people who are on the verge of "social dying", for whom the struggle for a full-fledged social status acquires the meaning of a struggle for life, and the eternal question "life or death" becomes decisive for many. All this forces animators - social workers, social educators, specialists in social and cultural activities - to find effective pedagogical technologies for overcoming the problems of sociocultural maladaptation.
This is the aim of a special direction of Western socio-cultural pedagogy - socio-cultural animation. It intricately intertwines philosophical and ideological approaches and various applied practices (from psychotechnical to theatrical). At the same time, socio-cultural animation uses traditional types and genres of artistic creativity as the main methods of “revitalizing and spiritualizing” relations between people, which is what allows us to recognize it today as an innovative direction in the development of socio-cultural activities.
Socio-cultural animation is one of the most intensively developing areas of modern socio-cultural activity, which involves the implementation of programs for creative rehabilitation, active recreation, and socio-psychological consolidation of social groups based on cultural values.
In socio-cultural animation, the tasks of providing conditions for free development, creative self-expression of the individual and conditions for effective social control in the field of culture are solved.
J. Dumazedier designated these two target aspects of socio-cultural animation as liberating and regulative. The desire for free social creativity (the liberating aspect of animation) is a necessary moment of human existence, which has a deep existential basis. “A person must defend his right to freedom, social inclusion against any illegal, harmful influences.”
The regulatory aspect of animation is important, since a person does not live in isolation in society, he is involved in the activities of social institutions, and in turn, the function of social control is necessary to regulate the relationship between them. Social regulatory control should promote the use of free time for self-development and more active participation of the individual in the social and political life of society.
In the dialectical unity of the liberating and regulative aspects of animation, J. Dumasedier sees the origins of the birth of animation as a social institution. Based on this position, he identifies four functional characteristics of socio-cultural animation.
First, historically, the emergence of animation was caused by the need for specific social control of free time, contributing to the maximum expression of the inner "I" of the individual.
Secondly, at present, free time is increasingly becoming a time for the realization of personal desires, encouraged or rejected by family, school, work. Social control in the form of animation, encouraging the free will of everyone, should limit, criticize and direct the market for the consumption of culture, in which the desires of the individual are realized.
Establishing a balance between the leisure needs of an individual or a team and their social inclusion is defined by J. Dumasedier as the third characteristic of animation.
And, finally, the fourth characteristic is social control aimed at the informal education of the individual, his self-education.
Personality in the system of animation activity. At present, the scientific interpretation of animation activity emphasizes its protective role in relation to the pressure on the personality of standardized and commercialized activities (D. Riesman). Animation creates optimal conditions so that the choice of leisure activities meets the needs of the individual to the greatest extent.
Sociocultural animation recognizes the personality as a unique integrity, which is not something given in advance, but an “open possibility” of self-actualization, inherent only to a person.
Tasks of sociocultural animation. Socio-cultural animation is, in its essence, a pedagogy of understanding and mediation, designed to establish relations of equality, overcoming hierarchical subordination, establishing personal relationships on the basis of greater freedom and independence, providing an individual choice in activity, creativity and communication.
Most modern technologies of socio-cultural animation involve a comprehensive solution to various human problems, giving him the opportunity to self-identify as a full-fledged representative of a particular socio-cultural and leisure community, as well as providing conditions for involvement in educational, creative, recreational and other types of socio-cultural activities.
At the same time, there is a question of every kind of overcoming social isolation, psychological alienation not only of the disabled, but also of some other categories of the population. Today, in many social and age categories of our society, there are people who are on the verge of "social extinction", for them the constant struggle for a full-fledged social status acquires the meaning of a struggle for life, and the rhetorical question "life or death" for many of these people becomes decisive. This provision pushes animators, who can be social workers and social educators and other specialists in social and cultural activities, to look for and find more and more effective pedagogical technologies to overcome the problems of sociocultural maladaptation.
A special direction of Western socio-cultural pedagogy, which is socio-cultural animation, is aimed at solving these problems. In social and cultural animation, there is an absolutely bizarre interweaving of both philosophical and ideological approaches and various applied practices, from psychotechnical to theatrical. With all this, socio-cultural animation widely uses traditional types and genres of artistic creativity in the form of the main methods of "revitalizing and spiritualizing" relations between people, it is this approach to the problem that has made it possible today to recognize socio-cultural animation as an innovative direction in order to develop socio-cultural activities.
Socio-cultural animation, today is one of the most intensively developing areas of modern socio-cultural activity, involving the implementation of programs for creative rehabilitation, active recreation, socio-psychological consolidation of social groups based on cultural values.
Animation in the social environment as a way of "revitalization", "spiritualization", interpersonal and intergroup socio-psychological relations, restoration of meaningful life orientations of the individual by means of social and cultural activities.

In one of the well-known reports of the Commission on Animation, prepared by experts on behalf of the Government of France, three interrelated processes in animation were distinguished:

The process of creating conditions for the disclosure of an individual or group;
The process of establishing interpersonal relationships;
The process of creativity as a search for problems in the world and their solution.

Animation action solves a complex of interrelated tasks:

Comprehensive assessment of the crisis situation, assistance in the individual's understanding of the value subtext of the situation (what is good and what is bad);
Help in determining and understanding what course of action in a particular situation is appropriate to achieve the desired goal;
Bringing the personality to the need to realize the irrational subtext of the situation, i.e. the forces that stand behind the openly manifested desire, the awareness of one's own unconscious desires;
Identification and assistance in realizing the real possibilities between which there is a choice;
Help in understanding the consequences that a decision will entail in a particular case;
Bringing the individual to the realization that awareness as such cannot change a crisis situation without the will to act.

The main directions of animation activities in Western Europe are school animation, theatrical animation, social (municipal) animation, art therapy, communicative rehabilitation.

Animation as a kind of professional activity. Animator is a person who performs animation work. French sociocultural animators are mostly volunteers, enthusiasts who work on a voluntary basis in their free time. These are teachers, scientists, public figures, engineers, employees, workers, peasants. There is a constant process of formation of activists of the socio-cultural movement from among the visitors of institutions of the socio-cultural sphere.
Along with voluntary activists, there are also professional animators. Their training is carried out by numerous training centers, which train about two and a half thousand people. Professional animators receive training in the field of administrative and managerial activities, research and creative work, and pedagogy. There are two types of animators:
1. leaders (animators-coordinators);
2. Specialist animators who lead various circles (crafts, technical and amateur performances, etc.), teach at various courses (education of motorists, tourists, popularization of science and technology, acting and directing courses, etc.), carry out legal advice, contribute to the social adaptation of emigrants, conduct social and cultural work at the place of residence, and even provide psychological assistance.
Cantonal (i.e. district) animators are responsible for meeting the needs of the population in the field of culture, sports, entertainment. The Cantonal Animator reports to the Director of the Department of Youth and Sports of the department, supervises the activities of local art groups and sports associations, organizes training for voluntary animators and leaders of amateur associations, establishes cooperation between animators and associations within the canton. Such an animator is hired under a contract and must pass a competitive examination in accordance with the approved charter; he enjoys freedom in choosing the forms and methods of pedagogical work.

Theoretical sources of socio-cultural animation. In its desire to develop as an original cultural practice, socio-cultural animation until the 1960s. tended to reject scientific research and analysis that could help clarify its problems, its structures, its specific practice. Since the early 1970s research began on animation pedagogy, animators, their psychology, education, goal setting, animation audience, activities carried out within its framework, institutions. It was during this period that the most productive research was undertaken, which made it possible to clarify the sociocultural space of animation.
Animation in its original sense is a "universal social phenomenon", which requires for its analysis the use of such various mutually complementary disciplines as philosophy, history, sociology, psychology, pedagogy, etc.
The target orientation of socio-cultural animation is to actively prevent the "dying", "alienation" of the individual in the culture of society, in the complex structure of social relations. Naturally, “acute”, critical states of a person alienated by society for any reason (national segregation, loss of professional status, limited physical abilities, deviant behavior, etc.)
Indeed, socio-cultural animation was formed as a direction of pedagogical work in society under the influence of a significant number of philosophical, psychological, medical and pedagogical views on the nature and essence of a person, the mechanisms of personality development in normal and pathological conditions and on the ways and means of correcting anomalies in personality development. The most important theoretical sources of sociocultural animation are: humanistic psychology (K. Rogers, A. Maslow, A. May, etc.), as well as social psychiatry and transactional analysis close to it in terms of humanistic orientation (E. Berne, E. Fromm, E. Erikson and others), logotherapy (V. Frankl), art therapy, etc.
In philosophical and ideological terms, animation activity is consonant with the leading global concepts of humanistic pedagogy, associated with the implementation of the tasks of free education, creative development. The basis of humanistic pedagogy, as well as humanistic psychology, are such philosophical concepts as, for example, existentialism, neo-Freudianism, anthroposophy. At the same time, we are talking about the use of the heritage of A. Neil (England), O. Decroly (Belgium), E. Parkhurst (USA), R. Steiner (Germany), S. Fraene (France) in the theory and practice of socio-cultural pedagogy.
From the standpoint of socio-pedagogical analysis, socio-cultural animation can be defined as a branch of social pedagogy based on the methods of organizing cultural and leisure activities of the population.
Principles of sociocultural animation. Among the main principles on the basis of which the animation work is built, the following can be distinguished:

Man must be studied and accepted in his totality;
Each person is unique, so the analysis of individual cases is no less justified than statistical generalizations;
etc.................

Content
Introduction...2

1.1. Modern technologies in Russia4

2.1. The concept of socio-cultural animation...6
2.2. Tasks of socio-cultural animation.8
2.3. Animators.10
Chapter 3 Animation Directions
3.1. Animation for the unemployed...12
3.2. Animation for the elderly.15
3.3. Animation in tourism...16
3.4. Sports and recreation direction of animation.18
3.5. Types of animation programs .... 20
3.6. Technology for creating animation programs..21
Conclusion.23
References .... 25
Introduction
According to experts, at present, the inclusion of animation programs of a cultural, educational, sports, tourist, and entertainment nature in the content of tourist routes and trips, in the operation of hotels increases their prestige and demand in the tourist services market.
Having fun, a person or a group of people satisfies his spiritual needs, evaluates his own personality, analyzes his role on the scale of various subsystems. Entertainment processes are carried out both in natural and artificially created environments.
The entertainment industry aims to create conditions for entertainment, i.e. a set of phenomena on the presence of which the process of entertainment depends.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of needs under the prevailing prerequisites. The entertainment industry, solving multifaceted tasks (first of all, education, the formation of an optimistic mood, education, recreation, the development of a person’s culture), essentially forms and develops a person. Filling with entertainment, a person restores himself as a labor unit as well as part of his free time.
In the world practice, tourism enterprises, including tourist accommodation facilities, belong to the sphere of servicing the population with entertainment. A number of enterprises, organizations, institutions provide entertainment in the form of their secondary activities. In addition to hotels, these include recreation areas and historical sites.
The entertainment industry acts as an independent, relatively isolated link in the economic system, attracting significant material, financial, and labor resources. In this regard, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
The study of tourists as consumers of concrete results of the entertainment industry is certainly of great importance. Special activities are also carried out, purposefully causing the corresponding emotions. The patterns of consumption of entertainment products must be studied in relation to the previous way of life of a person.
The purpose of the work is to study the relationship associated with the process of social and animation services.
The object of research is the process of animation itself.
The subject of the research is modern technologies and animation methods and techniques that ensure the overcoming of social and cultural alienation.
To achieve the goals of this work, it is necessary to define the following tasks:
- the concept of socio-cultural technologies;
- study of the concepts of socio-cultural animation, definition of its tasks;
- study of animation directions.
The structure of this work consists of: introduction, three chapters, including ten paragraphs, conclusion and bibliography.
Chapter 1. Socio-cultural technologies
1.1. Modern technologies in Russia
The modern period of development of social practice in Russia is characterized by the wide use of various social technologies - from monotechnologies to polytechnological systems. The social space is expanding, in which individual technologies or their combination find their application: from political and elective to sociological and analytical, from Internet technologies to technologies of various types of communication, from educational and pedagogical to technologies for providing targeted social services to various groups of the population and etc.
The penetration of technologies as an instrumental cognitive-transformative means into various sectors of the social sphere (not to mention others) can rightly be considered as one of the patterns of development of modern society, and in the sectors of social work and socio-pedagogical activity - as a stable trend their development (which is confirmed by the exponential growth in the number of scientific studies and publications on this issue). At the same time, each technology has a well-defined theoretical and methodological potential for cognition and transformation of social practice.
Naturally, the analysis of this potential can be carried out from different positions: from the point of view of various sciences and scientific disciplines; goals and target orientations; functional purpose of a particular technology; definitions of their nomenclature; revealing the structure, content, sequence, etc., i.e. within a wide range of evaluation criteria for these technologies
In the process of constant changes taking place in society, the idea of ​​\u200b\u200bthe possibilities, abilities and goals of a person in the modern world is also changing. Modern reality makes special demands on a person, dictates to him the need to combine costs and restore vitality, by balancing passivity and activity. The importance of a person's personal activity, initiative, and ability to creatively perceive reality is increasing more and more. However, not every person has such qualities, especially at the time of experiencing a difficult life situation. One of the most acute problems of our time is the loss of work by able-bodied citizens of the country. For most people who have lost their jobs for various reasons, there comes a period of difficulties, illness, poverty, and a passive attitude to life.
Chapter 2. Socio-cultural animation
2.1. The concept of socio-cultural animation
Animation in the generally accepted sense of an owl is a certain type of activity that pursues the goal of developing and presenting special programs for spending free time. Animation programs include sports games and competitions, dance evenings, carnivals, games, hobbies, spiritual activities, etc.
Socio-cultural animation is a special kind of socio-cultural activity of social groups and individuals, which is based on modern technologies (socio-pedagogical, psychological, cultural-creative, etc.) that ensure the overcoming of social and cultural alienation.
Socio-cultural animation technologies offer in the form of the main ways of "revitalization" and "spiritualization" of relations between people, the extensive use of public spiritual and cultural values, traditional types and genres of artistic creativity, thereby providing the individual with certain conditions for inclusion in creative, health-improving, educational, entertaining and other types of social and cultural activities.
In the process of entertainment, a person or a group of people satisfy their specific spiritual needs, evaluate their own personality, and also analyze their role on the scale of various subsystems. A variety of entertainment processes can occur in both natural and artificially created environments.
The main goals of the entertainment industry are the creation of certain conditions for entertainment, otherwise, the totality of phenomena, on the presence of which the entire entertainment process will depend.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of people's needs under the prevailing prerequisites. Dealing with the solution of multifaceted tasks, such as education, the formation of an optimistic mood, education, as well as recreation, the development of human culture, the entertainment industry, in its essence, forms and develops a personality. Filling with entertainment, a person restores himself as a labor unit as part of his leisure time.
The entertainment industry is an independent, relatively isolated part of the economic system, attracting quite significant, both material and financial and labor resources. In this issue, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
Socio-cultural animation is one of the main links in the general entertainment industry, using specialized techniques and techniques.
2.2. Tasks of socio-cultural animation
Socio-cultural animation, in its essence, is a pedagogy of understanding and mediation, designed to establish relations of equality, overcoming hierarchical subordination, establishing personal relationships on the basis of greater freedom and independence, providing an individual choice in activity, creativity and communication.
Most modern technologies of socio-cultural animation involve a comprehensive solution to various human problems, giving him the opportunity to self-identify as a full-fledged representative of a particular socio-cultural and leisure community, as well as providing conditions for involvement in educational, creative, recreational and other types of socio-cultural activities.
At the same time, there is a question of every kind of overcoming social isolation, psychological alienation not only of the disabled, but also of some other categories of the population. Today, in many social and age categories of our society, there are people who are on the verge of "social extinction", for them the constant struggle for a full-fledged social status acquires the meaning of a struggle for life, and the rhetorical question "life or death" for many of these people becomes decisive. This provision encourages animators, who can be social workers and social educators and other specialists in social and cultural activities, to seek and find more and more effective pedagogical technologies to overcome the problems of sociocultural maladaptation.
A special direction of Western socio-cultural pedagogy, which is socio-cultural animation, is aimed at solving these problems. In social and cultural animation, the interweaving of both philosophical and ideological approaches and various applied practices, from psychotechnical to theatrical, is absolutely bizarre. With all this, socio-cultural animation widely uses traditional types and genres of artistic creativity in the form of the main methods of "revitalizing and spiritualizing" relations between people, it is this approach to the problem that has made it possible to recognize socio-cultural animation as an innovative direction today. in order to develop socio-cultural activities.
Socio-cultural animation, today is one of the most intensively developing areas of modern socio-cultural activity, involving the implementation of programs for creative rehabilitation, active recreation, socio-psychological consolidation of social groups based on cultural values.

Fragment of the work for review

Chapter 3 Animation Directions
3.1. Animation for the unemployed
In the modern theory and practice of socio-cultural activities, animation technologies are innovative, which involve solving issues of various problems of the individual, which create certain conditions for the inclusion of the individual in socio-cultural activities in the complex.
Socio-cultural animation (animation) is considered a special type of socio-cultural activity of social groups and individuals, which is based on modern technologies (social, pedagogical, psychological, cultural, etc.) that provide problem solving social and cultural alienation.
Socio-cultural animation is focused on the personality of a person, fully focusing on the formation of its independence and activity.
Animation work can solve a complex of interrelated tasks:
- a comprehensive assessment of the crisis situation, assistance in understanding the value subtext by the individual;
- assistance in determining and understanding which way of action in a particular situation to use in achieving the desired goal;
- bringing the personality to the need to realize the irrational subtext of the situation, i.e. the forces that stand behind the openly manifested desire, the awareness of one's own unconscious desires;
- identification and assistance in realizing the real possibilities, between which there is a choice;
- assistance in understanding the consequences that may entail a decision in a particular case;
- bringing a person to the awareness that awareness as such does not change the crisis situation without a special desire to act.
Socio-cultural animation has a humanistic orientation, since its subject is a person capable of self-actualization, self-development, self-improvement.
Socio-cultural animation provides not only the provision of psychological, psychotherapeutic support to the categories of citizens in need of this, it also offers conditions and methods for a constructive way out of a person from a difficult life situation. Applying the technologies of social and cultural animation in practice, we get a comprehensive assessment of the crisis situation, the definition of the most constructive ways of behavior in it to achieve the goal.
Among the main directions of animation work with various categories of citizens, the most basic, in our opinion, are the provision of assistance in overcoming difficult life situations and critical states of the individual, with the help of psychotherapeutic training and rehabilitation by creativity.
Persons left without work are the social group most in need of socio-psychological, psychological-pedagogical, socio-cultural assistance.
The most optimal solution to the problems of the unemployed is seen in the creation of stable, stimulating conditions for the formation of their active life position. Episodic exposures have only a temporary effect, giving only temporary positive results.
A more effective process of forming an active life position of the unemployed is seen in the introduction into practice of well-planned animation programs of a complex nature.
Animation programs are most often complex in nature, and involve the use of the whole variety of means, forms and methods of work. They combine events of various kinds. This combination, depending on the goal, makes these programs more effective, rich, and interesting.
When developing and organizing animation programs, it is necessary to take into account the peculiarities inherent in people who are left without work. After the dismissal, the activity of people as a whole decreases. The unemployed are more characterized by a passive, dependent position. The inertia of consciousness and the instability of the situation in society makes it difficult to constructively overcome the situation of unemployment. Most people who have lost their jobs consider themselves victims of the socio-economic changes taking place in society. The loss of a job for them is not a kind of incentive to be active, it is stress, for the most part leading to depression and social illness. The unemployed experience difficulties in setting a clear goal of their activities, as well as methods for achieving it.
Realizing the complexity of the situation of people left without work, it can be assumed that the development and implementation in the practice of institutions of the socio-cultural sphere of animation programs for the formation of an active life position of people left without work is one of the conditions for their successful exit from the crisis, difficult life situation.
Animation programs for the formation of an active life position of people left without work should be aimed at actualizing the need for self-improvement, self-development; increasing the level of self-assessment of the unemployed; formation and development of skills and abilities, acquisition of new theoretical knowledge and ways of their practical application; active involvement of the unemployed in social and cultural activities; on the formation of their positive life prospects, etc.
Thus, animation technologies for the formation of an active life position of people left without work are of no small importance at the present stage of development of society. The problem of their application requires deep reflection and specific practical developments.

Bibliography

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The term "animation" has a theological origin, it entered the French language in the 14th century. In the academic publication Treasures of the French Language. Dictionary of the Language of the 19th - 20th Centuries" "animation" is defined as "an action aimed at giving life, breathing life."

Of course, these meanings of "animation" as "transfer of vital energy", "revitalization" are largely lost, but their essence is preserved - the task of animation remains the awakening of the potentialities of the individual, his "inspiration".

The emergence of socio-cultural animation is due to the introduction of a law on the creation of various non-political organizations in France in 1901. In connection with the reduction of working hours, more free time began to appear for working citizens, amateur associations became popular.

Sociocultural animation in France was formed in the field of public education, which later transformed into a system of additional education for children and adults. . In the 70s of the 20th century, the Government of France, after conducting numerous sociological studies that concerned the extracurricular time of children and adolescents, decided to create a priority program for educating the nation.

Jacques Friedman, who developed this program, spoke about creating a harmony of the unity of the child and the environment for his development. As a result of the work of this program, by the end of the 20th century, socio-cultural animation became an independent phenomenon in the field of leisure. Until the 60s of the twentieth century, socio-cultural animation had no scientific understanding. R. Labourie and P. Bernard write about the complexity of delimiting the space of animation, identify many areas of animation activity. French sociologists who studied animation activity saw in it the fundamental role of culture, the desire to attach the maximum number of citizens to its values. Animation is a "general social phenomenon," they write, and cannot simply be categorized into one of many professional fields.

A study conducted by E.B. Mambekov, shows that socio-cultural animation in France is based not on a rigid centralized system of managing socio-cultural activities and not on the activities of social institutions, but on informal public associations of people that are not amenable to any ordering and structuring. Public associations have the opportunity to take into account the interests of each individual, give each person the opportunity to realize themselves in personally significant activities. It is in them that initiatives are born, which are further formalized into voluntary associations, acquiring a structure and legal status. Local communities, municipal institutions unite and support voluntary associations. Over time, they can acquire the status of major social movements of national importance. And only in the last place, state bodies participate in this process, which finance non-profit institutions, coordinate their work, and contribute to the development of the socio-cultural sphere of society as a whole.

Now, as French sociologists note, animation is included in the leisure culture of France, being a special and completely independent element of socio-cultural activity.

In Russian history, there are many examples of socio-cultural animation as a technology of education, although this activity did not have such a name. in Russia in the nineteenth century. a system began to develop that can be considered a kind of socio-cultural animation activity - this is out-of-school education for children and adults. It was based on a private initiative, which was one of the most significant sources of organization and semantic content of socio-cultural activities in the late nineteenth and early twentieth centuries.

In the process of development of animation activities and social and pedagogical movement, according to R.V. Sokolov, two tendencies that contradict each other are visible: the first is an informal, “revitalizing” relationship; the second - formalizing, "killing" the spontaneous creative nature of social movements. The totalitarian power fought and almost destroyed all forms of new social movements. Thus, animation activity in Russia of the 20th century was not supported by a rigid totalitarian government. V.A. Charnolusky writes about the great importance of free associations of people.

Thus, socio-cultural animation has deep traditions in Russia, despite the fact that the term "socio-cultural animation" was first introduced in Russian by E.B. Mambekov only in the early 90s of the twentieth century.

Interest in animation in Russia was associated with the search for new approaches to the organization of cultural and educational work, which turned out to be ideologically outdated with the collapse of the USSR.

Among Russian scientists, socio-cultural animation is studied from different positions and receives different interpretations. Firstly, it is associated with cultural and leisure activities. M.A. Ariarsky believes that socio-cultural animation is one of the applied areas of cultural studies. In the concept of N.N. Yaroshenko, socio-cultural animation is named one of the young branches of applied social psychology and pedagogy, and is designated as "pedagogy of socio-cultural activity."

At present, animation activity is becoming more and more widespread in Russia. Animation activities are used in the following areas: in the activities of cultural institutions; institutions of additional education; mass media; rehabilitation centers; tourism, etc.

Today socio-cultural animation is one of the young branches of science. In modern Russian society, socio-cultural animation is becoming relevant and, according to many sociologists, there are a number of reasons for this, such as:

• - change in the worldview of modern Russian society;
• - the need to form a civil society;
• - change in the economic status of socio-cultural activities;
• - change of ideological views in the organization of pedagogical activity.

What is socio-cultural animation today? There are quite a few different definitions of the concept of socio-cultural animation, one of them is given by N.N. Yaroshenko. Animation (animation - anim: soul - animation, revival) - a special type of socio-cultural activity of social groups and individuals, based on modern technologies (social, pedagogical, psychological, cultural, etc.), providing overcoming the social and cultural alienation.

M. Simono gives the following definition: “Socio-cultural animation is an area of ​​social life, the participants of which set themselves the goal of certain changes in behavior and interpersonal and collective relations through direct impact on individuals. These influences are carried out mainly through a variety of activities with the help of pedagogy of non-directive or active methods” M. Simono.

E.B. Mambekov defines socio-cultural animation as part of the cultural and educational system of society, which can be represented as a special model for organizing socio-cultural activities:

• - as a set of elements (institutions, government bodies, organizations, voluntary associations, animators, audience) that are in constant relationship;
• - as a set of occupations, activities and relationships that meet the interests shown by a person in his cultural life and especially in his free time;
• - as a kind of socio-pedagogical system, in which the leading role is played by animators, professional or voluntary, with special training and using, as a rule, methods of active pedagogy.

In modern psychological and pedagogical science, the use of the concept of "animation" is associated for the most part with the second aspect, that is, it is used mainly to characterize relationships.

The French researcher Anne-Marie Gourdon wrote that when the word animation is mentioned, it is not about the revival of the body and inanimate matter, but about the revival of relations between individuals and social groups.

R. Laburi expands the concept of socio-cultural animation into social, he sees it as: "The activity carried out by uniting individuals who independently determine the content and purposeful social, cultural and educational activities outside of working hours."

The very concept of "animation" allows, on the one hand, to accurately characterize the goals of sociocultural activity, to identify its consolidating (unifying) nature, and on the other hand, to designate the internal aspect of the relationship between the subjects of the pedagogical process (special ways of communication, dialogue filled with participation, sympathy, co-action).

Socio-cultural animation can be considered as an integral socio-cultural system that has an appropriate institutional subsystem, resource base, specific content and technologies (methods) of animation activity. In this, socio-cultural animation is quite consistent with socio-cultural activities.

But the main difference between socio-cultural animation and socio-cultural activity, as Tarasov L.V. writes, is that in socio-cultural activity, society forms a personality, and in socio-cultural animation, a person forms social processes.

Modern leisure, according to J.R. Dumazedier, is not an "application" to work, as before - a rest from it and preparation for it. The autonomization of leisure, the change in life orientations towards leisure is evidence of fundamental changes in the way of life of society, especially young people.

According to V.G. Bocharova, animation can be considered as a professional activity associated with the organization of a creative search for activities in the field of free time; with ensuring the process of development of an organized group and its members at the level of social relations and cultural formation. Under public relations is meant the establishment of interpersonal contacts between individuals and public relations between various social institutions. Cultural formation is understood as familiarization with new cultural values, while the concept of "culture" receives the broadest sound. In the light of this perspective, the social and cultural functions of the animator converge, and he effectively implements the process of socialization of the individual.

Socio-cultural animation uses traditional types and their genres of artistic creativity as the main methods of "revitalization and spiritualization" of relations between people, this is what allows us to recognize it today as an alternative direction for the development of cultural and leisure activities.

The fundamental novelty of animation activity, according to N.N. Yaroshenko, can be characterized by new goals, objectives and applied technologies that determine the process of optimizing interpersonal and intergroup relations.

R. Laburi identifies two most common approaches to the interpretation of the essence of socio-cultural animation.

The first approach is pedagogical, which allows us to consider socio-cultural animation as a certain level of social education. This emphasizes, on the one hand, the growing role of the animation apparatus, its activity, customer service, strengthening the position of professional workers, that is, the importance of the external influence of educational technology. On the other hand, animation is a way of creating and developing a group that forms its own community of values, interests, actions and creates its own social project. That is, animation is a technology of subtle initiating influence at the level of internal resources of self-development of an individual and a group.

The second approach is sociological, connected with the main ideological currents of French sociology. For some, the function of animation is to unlock social bonds, establish warm, trusting relationships. Others see its function, in accordance with the traditions of French culture, in teaching and mastering the great languages ​​​​of thought, aesthetics, poetics, economics, etc.

The specific task of socio-cultural activity is to create psychological and pedagogical conditions that contribute to overcoming psychological obstacles to social interaction.

Among the basic principles on the basis of which the animation work is built, N.N. Yaroshenko highlights the following:

• - a person must be studied and accepted in his integrity;
• - each person is unique, so the analysis of individual cases is no less justified than statistical generalizations;
• - a person is open to the world, a person's experience of the world and himself in the world is the main psychological reality;
• - human life should be considered as a single process of becoming and being of a person;
• - a person is endowed with potentialities for development and self-realization, which are part of his nature;
• - a person has a certain degree of freedom from external determination due to the meanings and values ​​that guide him in his choice;
• - a person is an active, intentional, striving for self-actualization, creative entity.

Among the areas of animation N.N. Yaroshenko highlights:

• - animation work to change the negative attitude of society towards the alienated person;
• - activities to restore the system of interpersonal relations of the individual (socio-psychological rehabilitation);
• - the formation of adequate self-understanding, self-awareness and self-expression (therapy of the meaning of life - logotherapy).

Socio-cultural animation as an activity, being a system, has a certain structural construction of the elements of its activity. The functional basis of socio-cultural animation is part of this system.

In the studies of V.A. Quarterly, L.V. Kurilko, E.M., Priezzhaeva, B. Stoikovich, animation activity is defined as a qualitative characteristic of the way of human activity, which turns it into a means of revealing and realizing the essential forces of a person. According to I.I. Shulgi, animation activity is aimed at actively promoting the harmonious development of a person’s personality, at forming motivation for various ways of amateur performance, including the search for new forms of free creative pastime.

E.B. Mambekov in his study presents the structure of functions proposed by the French researchers P. Bernard and R. Labourie:

• - function of adaptation and inclusion;
• - recreational function
• - educational function;
• - corrective function;
• - critical function;
• - cultural function.

I.I. Shulga highlights the functions of pedagogical animation:

• - relaxation - restoration of expended energy, psychosamotic relaxation, rest, emotional discharge;
• - cultural-cognitive - the acquisition of previously unknown knowledge;
• - educational function - ethical and aesthetic impact, familiarization with humanistic ideals and values;
• - creative - creative development.

N.N. Yaroshenko designates two functional aspects of social and cultural animation. The liberating aspect has a deep existential nature, which is based on the desire for free social creativity. The regulatory aspect of socio-cultural animation involves the establishment of the relationship of the individual with the activities of social institutions, where the need arises for the function of social control, which contributes to the use of free time for self-development and more active participation of the individual in the social and political life of society.

N.V. Trubacheva gives the following structure of resort animation functions:

• - adaptive - allows you to move from everyday environment to free, leisure;
• - compensatory - allows you to free a person from the physical and mental fatigue of everyday life, and stabilizing - to create positive emotions and stimulating mental stability;
• - the health-improving function of animation, aimed at restoring and developing the physical strength of a person weakened in everyday working life.

EAT. Priezzhaeva considers the socio-pedagogical functions of animation activities in tourism, which are interpreted as:

• - production, accumulation and storage of new knowledge, norms, values, orientations and meanings;
• - reproduction of the spiritual process through the promotion of its continuity;
• - communicative support of sign interaction between the subjects of activity, their differentiation and unity;
• - creation of a socialized structure of relations mediated by cultural components, which is at the same time the content of animation activity.

Interaction in the field of animation activities is voluntary and selective. Such interaction is largely differentiated, individualized and variable, its educational effectiveness is determined by which individuals participate in it, to what extent they feel themselves to be individuals and see a personality in everyone with whom they communicate.

The conclusion is to give a definition of socio-cultural animation, what is technology, what is socio-cultural animation as a technology of social work, what algorithm does this technology have.