The main directions of the cultural policy of the Russian Federation. Priority directions of cultural policy. Percentage of sponsorship funding of the total

The way out of the difficult situation in which Russian culture finds itself today is not limited to a lack of funds. Something else is also important:

Practice is always the development of ideas, which gives rise to the need to return once again to the following questions: what sociocultural factors influence development;

What are the “sections” of culture that need to be paid attention to today;

Where are the “points” located, the impact on which can cause cascade phenomena of the processes of self-development of culture.

One of the main priorities of the cultural policy of the Russian state is the preservation of the potential of cultural heritage. Sustainable development requires careful protection and transmission to the next generations of the historical experience of society and its cultural achievements. Cultural heritage is the moral and spiritual experience, accumulated by generations, a source of inspiration and creativity, the most important factor in maintaining national identity. The high significance of cultural heritage and its vulnerability make its protection one of the main directions of cultural policy at the international and national levels.

Intensive changes in society day by day give rise to new problems related to cultural heritage, its preservation and revival. Cultural heritage in a dynamic world is threatened by pollution environment, is destroyed as a result of hostilities, is destroyed with limited resources, lack of knowledge, suffers from uncontrolled tourism. Unfortunately, all over the world there are problems associated with the use of cultural heritage to achieve economic goals, with the illegal trade in works of art, the dishonest sale of handicrafts, and the manipulation of museums. The issues of accessibility of archives and museum collections, the development of research on the interpretation of cultural heritage, etc. need to be worked out.

The main task is to pay tribute to the exceptional diversity of cultural heritage, to use it in the interests of development. Strategies of this kind should be developed at the regional level, taking into account the socio-economic characteristics of the territories, the interests and demands of various categories of the population, the cultural potential of the region as a whole, but not limited to local communities, the richness of the cultures of various peoples can and should become the basis for their interaction.

The formulation of the value of cultural heritage, based on the relevant international conventions and national legislation, based on the social, scientific, historical, aesthetic, symbolic value of a cultural object, at the same time should include new accents related to drawing attention to the benefits that the use of object of culture for economic and infrastructural development. Preservation of cultural heritage today should be closely linked with the social and economic development strategies of the city, region, improving the quality of consumer services.

The most effective means of accessibility cultural property tourism is becoming a source of heritage preservation today. With its help, it is possible to carry out complex projects for the revival and preservation of cultural heritage, the restoration of cultural monuments. Tourism integrates various components - not only social, cultural, aesthetic, but also economic. It is the most important factor in the self-financing of the heritage, a source of investment in its conservation. Tourism should not develop only within itself, as is often the case today. Income from the use of cultural resources should be returned to the sphere of culture and used for subsequent activities for the protection of cultural property. In establishing this process, an important role belongs to state bodies. They should build the necessary priorities in relation to tourism, play a coordinating role in the interaction of stakeholders, and contribute to the creation of a legal environment that ensures the development of the tourism industry.

Another important priority area of ​​cultural policy - as support for creativity in the broad sense of the word - includes not only the self-expression of a person in the field of art, but also solving problems in other areas, in creating a new way of life, and supporting cultural innovations. The most important tasks of cultural policy, which can be attributed to the sphere of transforming the surrounding reality on the basis of creative imagination and initiative, are associated not only with supporting the development of professional creativity and professional art education, but also with strengthening the role of cultural figures and institutions in solving the most important socio-political problems, shaping socially active person.

Among the modern aspects of promoting collective and individual creativity, as well as the development of democratic access to culture, the intensification of cultural dialogue, the analysis of the possibilities of the cultural industry is of great importance.

The cultural industry, which is developing more actively than other sectors of culture in post-perestroika Russia, is distinguished by a complex process of the simultaneous presence and absence of the state in it, especially in industries that were quite recently unknown and in relation to which no management strategies have been developed until recently. (discs, CDs, videos).

The sphere of the world cultural industry is characterized by intensive development, thousands of jobs are being created in it today, and it itself constitutes a large share of national production in every country. In international documents, the cultural industry appears as a dynamic area that contributes to the development of culture at the national, regional and local levels, as well as facilitating the dissemination of the relevant products of a country abroad. The cultural industry plays a significant role in modern social development, in the generation of cultural heritage.

Cinema, television, book publishing, production of audio and video recordings develop mainly on a commercial basis, and this cannot but leave an imprint on the quality of the products of the cultural industry. At the same time, if the market is the only arbiter of the quality of the products of the cultural industry, then creativity in this area can be compromised, and decisions that are made here mainly on the basis of commercial criteria can harm the cultural “component”. This applies to lesser-known creators and new forms of aesthetic expression. At the same time, the promotion of truly competitive products is the key to preventing the danger of monoculture. Artists and entrepreneurs should be able to fully function in the national cultural industry, create competitive cultural products in global markets. To do this, in the field of culture, it is necessary to strengthen the interaction between the public sector and business sectors, various civil society organizations, implement joint projects in the cultural industry (production, investment, transfer of rights), encourage research on the study of culture and its dissemination in the media. mass media.

With the world moving towards increasing interdependence, the cultural industries need cooperation between governments more than ever different countries. Directions in which this interaction could occur:

Promoting the development of common markets;

Creation of networks for the exchange of information;

Development of telecommunications;

Joint production of television and radio programs, video and multimedia products, films;

Protection of the rights of the artist, actor;

Exchange of relevant experience;

Education.

In the 90s. In Russia, the cultural industry is developing quite rapidly despite the economic downturn. The state is trying to regulate certain processes in the field of film production, television broadcasting, radio broadcasting, the release of audio and video recordings, mass literature. Nevertheless, many areas remain without its necessary influence, developing according to the market paradigm. new policy Russian cinema also requires. How kind artistic culture, it plays a special role in the system of development of audiovisual communications, as a means of pursuing a policy of the state, focused on familiarizing the general public with spiritual and cultural values, as a creative sphere. This specific product is embodied with the help of elements of material production that provide the process of creating, showing and storing films. The development of this complex sphere, which simultaneously represents both art and industry, requires the development of a well-coordinated organizational, legal and economic mechanism that ensures “the achievement of the socio-cultural tasks of the state in combination with the normalization of market commodity turnover in the production and distribution of film products.”

5. Modern resource support for the sphere of culture

Reforms in the sphere of culture began to be carried out from the mid-80s. This was the beginning of the transition from the old traditional paradigm of managing the sphere of culture, characterized by the monopoly role of the state, to a new public-state paradigm of the development of the cultural sphere. The change in the traditional paradigm is objectively caused by the need for society to adapt to the ongoing changes. A careful attitude to culture and a course towards its preservation and development is the creation of modern economic and legal prerequisites for its effective functioning, new structures and institutions. In fact, the new paradigm is a prerequisite for activating the internal forces of culture, the possibilities for its self-development, as well as stimulating the efficient use of resources, taking into account the priorities of cultural policy, and the fullest satisfaction of the cultural needs of people.

The potential of culture in Russia is 2 thousand state museums, in which more than 55 million items of storage are concentrated, the fund of 50 thousand libraries is approaching a billion books, millions of historical and cultural documents are stored in 15 thousand archives, about 85 thousand immovable historical and cultural monuments, more than 50 thousand clubs, about 600 theaters and 250 concert organizations operate in the regions. There is an acute issue of transition from the preservation of this potential to the strategy of sustainable development of culture.

Severe conditions of shortage of resources exacerbate the problem of matching state guarantees to its capabilities, strengthening the justification of budgetary resources and transparency of spending public funds (introducing a system of national accounts, publishing reports on the use of budgetary and extrabudgetary funds by government bodies, public control). The solution of organizational and economic problems in the socio-cultural sphere today implies an increase in the efficiency of spending budget funds and the use of state property located in the sphere of culture, multi-channel financing.

In the aspect of strengthening the processes of self-organization of cultural processes, it becomes essential to overcome the rigid framework of control of the administrative system, bureaucratic traditions, increase the autonomy public institutions spheres of culture while strengthening the control of civil society. This kind of control can be different form(abroad - the boards of directors of institutions, the creation of a trust, the chairman of which is a person respected in this society). The practice of multiple founders of cultural institutions by state and non-state bodies should be widely used. When individual federal cultural organizations that are associated with the solution of territorial problems are transferred to the ownership of the subjects of the federation, co-founding of bodies of different levels is possible.

The understanding that the state is not able to support everything created earlier in the socio-cultural sphere and cannot continue to spend money on culture, finally matured by the mid-90s, when there was a massive reduction in funding for the socio-cultural sphere from the budget and many positions in the management of the sphere of culture were lost. The functioning of the sphere of culture began to take place in conditions of a significant shortage of resources. In 1995, the amount of funding for culture decreased by 40% compared to 1994, and in 1996 by 43% compared to 1995. Due to the sequestration of the federal budget in 1996, 42% of the planned funds were allocated for culture. , in 1997 - 40%. In 1998, real (inflation-adjusted) federal budget expenditures on the social and cultural sphere and science decreased by 2.2 times compared to the previous year. The lowest amount of funding against annual appointments in the section "Culture and Art" - 35.5% of annual budget assignments.

In 1999, the state basically fulfilled its obligations, but the general reduction in spending on the socio-cultural sphere makes itself felt sharply. The dynamics of the expenditure part of the federal budget can be shown by comparing the proportion of appropriations for culture and art: in 1996 - 0.83%, in 2000 - 0.55%. This indicates that the statutory norms for budgetary expenditures on culture at the federal level are not only not maintained, but are even decreasing.

Since 1992, the material situation of educators and cultural workers (employees of clubs, libraries, museums) has deteriorated sharply in comparison with other social groups, and the prestige of their professions remains low.

Strategies for the financial security of the socio-cultural sphere are associated with a change in the system of circulation of financial flows. Since in modern Russian conditions the state is moving away from a complete monopoly on the socio-cultural sphere, new subjects are increasingly involved in the regulation of social processes: non-governmental organizations, public associations and organizations, and individuals. Only the services included in the list of minimum guarantees remain within the competence of the state to finance from the budget; the provision of targeted social assistance to the poorest strata, the role of personal funds in paying for social services is growing. The concentration of funds for the development of the socio-cultural sphere in the budget of state bodies should be reduced over time, and, on the contrary, the part of the funds paid by the consumer of the relevant services should be increased. Such a change is well overdue, but today is associated with technical difficulties in implementation and social complications - such a policy can run the risk of marginalizing the poor.

The budget financing strategy should involve the gradual transfer of the cultural sector to normative financing based on the development of appropriate state standards and an assessment of the state's ability to fulfill its guarantees. If the replacement of costly financing of institutions with targeted financing based on per capita standards and programs is not provided, there should be a strict competitive procedure for allocating funds, all kinds of encouragement of competition, which should be accompanied by the development of new forms of providing cultural services.

In non-budgetary financing of cultural programs, the attraction of funds from enterprises and the public can play a significant role.

An important modern trend is the earning of money by cultural organizations. In Russia, as well as throughout the world, there are cultural organizations that can earn money. True, it will be unfair if the use of state funds (for example, museums) will go only to the institutions themselves and intermediaries. In such a case, provision should be made for the transfer of funds to funds for the development of cross-functional funding systems for cultural activities.

In a crisis, it is important to use the potential of the non-profit sector. The state must create conditions for the participation and implementation of cultural programs of state and non-state non-profit organizations. Unfortunately, Russia does not use the existing world experience related to the provision of certain opportunities for state authorities as co-founders of commercial organizations, until there are types of funding that would apply to both state and market forms of existence of art.

Many problems in the development of the socio-cultural sphere rest on the implementation of an appropriate tax policy. Given the difficulties of financing culture from the budget, there must be special tax legislation for the functioning of this sector. The absence of a clear policy in this matter most adversely affects the interest of potential donors; cultural institutions refrain from seeking additional sources of funding.

Unfortunately, cultural organizations are actively denied benefits today, the reduction in benefits is justified by the lack of funds in the budget, although many practitioners believe that the motivation here is quite simple: fear of deception and unwillingness to engage in the necessary control.

The difficult situation in the socio-cultural sphere, when available resources are decreasing and cultural needs are growing, makes such demands on the decisions made in it, which involve the rationalization of public spending in the form of their allocation to specific programs and projects. It is through the implementation of relevant programs and projects that a change in the cultural situation in society is achieved. They (programs and projects) are a mechanism for solving specific problems in the socio-cultural sphere. The responsibility of the state is to take the lead in the implementation of programs that reflect the role of culture in development, so that culture from a secondary phenomenon becomes a formative one, and the presence of cultural potential makes a promising social economic development the area where the program is being implemented.

The difficulties in the functioning of the cultural sphere today are largely associated with a decrease in the income of the population, unable to pay for services in the cultural sphere, as well as the lack of the necessary experience of managers to organize the life of cultural organizations in market conditions. Knowledge about culture today must be transformed into applied knowledge: if the state must bear the cost of protecting treasures or monuments, then turning treasures into money is the task of people who really own cultural processes.

In their hands are technologies that can actually work for the further development of culture in the future.

Changes in the principles of financing the cultural sector require its employees to have new skills in fighting for resources, searching for interested parties, mastering marketing strategies, and fundraising. There is a need for an active transition from administrative stereotypes to design technologies and mastery of the design language, to the consideration of culture as a factor in regional and urban development, and the analysis of territorial cultural resources. It is not at all necessary that managers be the direct developers of cultural projects, but since it is their task to ensure that the desired project is implemented, at least an understanding of the project language is necessary, especially since budget money has also begun to be given to projects today.

Current situation in the area of ​​training is exacerbated by the fact that little money is allocated to the development of human resources, and therefore many of the leaders operate by trial and error. Strategic goals of modern public policy require a significant change in the management paradigm. Such "parameters" of activity as the need to create a complex infrastructure of culture, the expansion of independence of institutions, the need to actively contact other sectors - commercial and non-commercial - to build schemes for their participation in the support and development of the cultural sphere, significantly complicate not only the practice of the leader, but also the process training for today's conditions.

Leaders in the cultural sector need modern education, which involves special training for work in the market. Combined with good information support and the establishment of partnerships, it becomes the most important resource, the use of which can initiate the socio-cultural changes that are so necessary for Russia in the new millennium.

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All topics in this section:

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Phases of labor force reproduction (PC)
I II Ш IV PHASE OF PC FORMATION PHASE OF DISTRIBUTION OF PC PHASE OF EXCHANGE OF RS PHASE EXPLOIT

Social justice scale
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Qualification assessment system
Position Qualification score I Director of the plant 4.5 II

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Qualification groups of enterprises
Qualification groups I II III IV V VI VII VIII

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Labor productivity and employment
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Number of workers PPT (nat. unit) C (rub.) PDT (rub.) 3 (rub.) P. (rub.) 0.6

Optimal Hiring Criteria Mechanism
Number of workers PPT (nat. unit) C (rub.) PDT (rub.) 3 (rub.) Approx. (rub.) 0.6x3=1,

Changes in real money incomes of the population of the Russian
Federation in 1992-1999 (as a percentage of the previous year)

Social Security
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Insurance
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Insurance
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Insurance
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Social Security
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Proposed Allocation of Insurance Contributions to Funds
compulsory social insurance (in % of the salary fund) Type of insurance Employers Employees

Reform in the Russian Federation
Plan: 1. Russian pension system 2. Financial basis of the Russian pension system 3. Organizational structure

Russian pension system
Pension provision is the basic and one of the most important social guarantees for the stable development of society, since it directly affects the interests of the disabled population (over

Stages of formation of the pension insurance system in the Russian Federation
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Types of state pensions
In accordance with the pension legislation of the Russian Federation, at the present time, labor and social pensions, pensions for conscripts, pensions for inva

Financial bases of the Russian pension system
The set of income and expenses that provide financing for the pension system of the Russian Federation. The budget of the Pension Fund of Russia (PFR) is completely autonomous financial system from state

pension system
The PFR is an independent financial and credit institution operating in accordance with the legislation of the Russian Federation. The FIU was formed for the purposes of state

Russian pension system
An analysis of the dynamics of the ratio of the employed able-bodied population and pensioners in our country for the period under review reveals a number of characteristic trends (Table 1). T

Dynamics of the inflation index, pensions and wages
to the previous year (times) Years Salary Pension Inflation Income (PFR)

Systems
The Pension Reform Program currently being implemented, as well as the proposals under consideration for the reform of pensions in the medium term, determine the state

of the pension system of the Russian Federation
For the period that has passed since the adoption of the Concept for reforming the pension system in the Russian Federation (Decree of the Government of the Russian Federation of August 7, 1995 No. 790 “On measures to implement the

Calculation of the amount of old-age pensions according to the Law of November 20, 1990 No. 340-1
Required data 1. Information about wages(ZP) of a pensioner for the last 2 years of work or any 5 years in a row. 2. Information about work experience including all non-insurance periods

public policy
Plan: 1. Labor safety: conceptual apparatus 2. The state of labor safety in the country and state policy in this

State policy in this area
Numerous data testify to a steady trend of deterioration in working conditions and labor protection in the country, a decrease in the level of social protection of workers from occupational risks. On

Economic, legal and organizational mechanism of social protection of workers from occupational risks
Measures to prevent industrial injuries and occupational diseases Social protection in case of loss upon admission

Labor safety
The state policy of Russia in the field of labor protection proceeds from the doctrine of "zero risk" and is based on the methodology of the "threshold" nature of the impact of factors of production

for improvement)
Public authorities Private sphere Insurance authorities Enterprise level Ministry of Labor and region

Protected between the main subjects, develop a model of labor protection management adequate to market relations
The space of professional risk should be covered by the whole range of protection mechanisms developed by world practice: legislative and control functions of the state, organizational and technical

Assessment of the standard of living
Improving the standard of living of Russians is the most important programmatic task of the social policy of the Russian state. The government's priorities include restoring revenues and maximizing

For the long term
In order to comprehensively overcome negative trends in the standard of living of the population, the Government has developed a long-term program for the socio-economic development of the country. In it, especially

Level and quality of life
The purpose of the Concept is to restore in the next decade for the majority of the population the standard of living achieved at the turn of the 90s, as well as the formation of a new quality of life, in accordance with

Organization of the minimum wage
The minimum wage should be based on the subsistence level of able-bodied Russians. Wages, even at the minimum level, should be oriented towards the needs of a simple labor worker. In modern

Organization of the tariff part of earnings
Naturally, the remuneration of workers of the first category of the tariff scale cannot be lower than the minimum wage. This means that following an increase in minimum wage guarantees, changes in the size of

salary
When wages reach a level that makes it possible to ensure personal consumption, corresponding to the consumer budget of high prosperity, we can talk about the high welfare of workers

The subject of demography and demographic policy
Demography (from the Greek demos - people and grapho - I write) is a science that studies the size, territorial distribution and composition of the population, their changes, the causes and consequences of these changes.

population reproduction
An important place in the system of demographic sciences is occupied by economic demography, which studies the relationship between economic development and population reproduction. Item

Methods for studying demographic processes
The most common quantitative measure of the population is the population size. By the beginning of 2000, the permanent population of the Russian Federation totaled 145.6 million people, by the end

Million people
The following main groups of demographic analysis methods can be distinguished: mathematical methods - for analyzing the patterns of development of certain demographic

In Russian federation
Events recent years the demographic situation in Russia has worsened. By the beginning of the 90s. the economic difficulties of the transition period led to a decrease in the birth rate and some increased

Dynamics of the number and age composition of the population of Russia
According to the last census of 1989, the population of the Russian Federation was 147,386 thousand people. By the beginning of 2000, the number decreased and amounted to 145,628 thousand people. tabli

Population policy
The management of demographic processes should ensure the fullest possible coincidence of the interests of society and the family, which, as you know, decides on the number of children,

In education
Plan: 1. The role of education. Reforming and modernizing education as a branch of the social sphere 2. Problems of development of

Education as a branch of the social sphere
Education is an autonomous system with relative independence, capable of actively influencing the functioning and development of society. As a branch of social spheres

Problems of education development in Russia
The cost of education is increasing year by year. In 1998, 17.3 billion rubles were allocated from the budget for these purposes. In 1999 - 20.90 billion, in 2000 - 32 billion, and in 2001 thanks to

For students
Education reforms in our country have acquired the status of state policy. The Government of the Russian Federation represented by the Ministry of Education of the Russian Federation as a customer in October 1992

education
The mechanism for the implementation of the Program provides for the annual formation of working documents. A list of priority works arising from the system of activities of the Program is compiled, with

Health Development
Plan; 1. The state of health of the population and health problems 2. The main provisions of the health care reform (reasons,

health care
The state of public health in the scientific literature is considered through the characteristics of a number of indicators. In their list, the most significant are:

The natural movement of the population of the Russian Federation
(per 1000 population) Figure 1 Leading class with

The main provisions of health care reform
(reasons, goals, objectives, ways of implementation) The specific conditions of the state of society dictate ways to solve health problems. There is probably no perfect si

Aspects
So, in Russia at the turn of the 90s. as a reforming idea, the idea of ​​the transition of Russian healthcare to the model health insurance. This idea was born out of nowhere.

Services in social protection of the population
To help people who find themselves in difficult life situations and those in need of social protection, there is a special institute of social work and social services.

Rehab industry
One of the most important modern components of the social protection of the population, the leading direction of state policy in this area is the creation, maintenance and development of rehabilitation

Systems of social protection of the population in Russia
In Russia, to date, there has been no formation of sufficiently clear approaches to reforming the existing system of social protection, which is characterized by extremely high

Culture in a period of social change
The democratization of Russian society, the liberalization of the economy, the formation of pluralism have led to phenomena in the sociocultural sphere similar to those observed in other countries.

The state as a subject of cultural policy
In the light of modern scientific ideas, cultural policy in society is the result of many contradictory courses determined by various subjects, sometimes not directly directed.

The goals of the cultural policy of the Russian state
In cultural policy in Russia, in general theoretical terms, the idea of ​​what is due today is already changing. This is largely due to the transition to modern scientific concepts.

And definitions
Physical Culture- an integral part of the general culture, the area of ​​social activity aimed at achieving physical development person with the help of conscious motor activity

Physical culture and sports
Any reforms and innovations must be based on legal base. At present, in the Russian Federation, the legal, organizational, economic and social foundations of the

Importance of tourism and travel motives
An increase in the standard of living and the level of education of the population, a change in its demographic characteristics, an improvement in communications and, finally, a rise in social self-awareness

Impact of tourism
Tourists spend money in hotels, restaurants, transport, etc., and. thus participate in the economy of the host country. This participation can be explored by assessing direct and co

State and tourism
As a rule, with the increase in the importance of tourism in the country's economy, the introduction of the state into the industry through the relevant ministry with certain powers also increases.

Tourism development planning and policy
There are various methods of tourism development planning depending on the level of economic development of the country. However, they all share common characteristics and consist of the following

State regulation of the housing sector
State housing policy in a market economy is a system of unified measures of a legislative, executive and supervisory nature, carried out by authorized

Housing and communal sector
The housing issue, characterized by a chronic and absolute shortage of housing, has always existed in the Russian Federation. Today, the housing problem not only persists in general, but also about

Modern stage
The most important areas of activity of the authorities in reforming the housing and communal services: the final delineation of the functions of the owner-homeowner, manager

Politicians
The implementation of social policy involves the legislative establishment and financial support for the fulfillment of the social obligations of the state, which can be defined as

During the transition period
From the point of view of financial support for social spending in the transitional economy of Russia, three stages are clearly visible, with significant differences. First stage

Consolidated budget of the Russian Federation
The consolidated budget of the Russian Federation consists of the federal budget; budgets of 89 subjects of the Russian Federation; local budgets. A special place in the financing of social

Programs
One of the most revolutionary changes in the field of public finance was the separation of the Pension Fund from the state budget and education outside the budget system.

social programs
Non-state social insurance funds act as an instrument of accumulative insurance of social risks. Currently, there is a complex formation of non-state

Politicians
The implementation of social policy is unthinkable without the collection and processing of a large amount of information about society and the processes that take place in it. Such information is called social

Directions
A large number of subjective components and factors of a subjective order in social information (such properties of social information as meaning, value, reliability) and social

Methods for measuring the level of development of society
Quality of life is measured not only by income

Bodies of state statistics of the Russian Federation
The calculation of all indices in the methods of measuring the level of development of society, given above, is based on the data of state statistical reporting. Collection and processing of such

Information problems of providing employment
The most vulnerable place in the information support of the labor market is the failure to provide data on the wages of workers. With the start of market reforms, enterprises (especially small and

social security
The problems that need to be solved in the process of implementing social protection measures include, firstly, the implementation of targeting in the provision of social assistance; Secondly

social policy
Information technologies used to implement certain goals of social policy can be divided into four types. The first type includes bases and banks

Man as an object of social policy
The logic of the socio-economic development of countries with developed market economies has raised the question of a deep rethinking of approaches to economic development based on qualitatively new

economic life
Category Period of active use in domestic science Reflected idea of ​​a person Factors of occurrence

Working with staff
Elements of the management system Classical approach to management (traditional organization) Emphasis in management on personnel (organization of the future

The quality of the workforce at the turn of the 21st century
The concept of "quality of the labor force" includes the qualifications of an employee (general and professional special education, experience), his personal qualities (sociability, mobility,

Youth demands and employer opportunities
Occupations most in demand among young people (18-22 years old) Occupations most often offered by employers Temporary

Personnel Competence
Entering a job, a person is usually full of ambitious hopes and optimism. New work and a new team stimulate initiative, but these hopes do not always come true. After a period of times

Objective prerequisites and conditions for the emergence of social partnership
Social partnership is a special system of relations that arise between employees and employers with the intermediary role of the state, according to the coordination of economic int

The essence of social partnership
There are two directly opposite views on social partnership. First. Social partnership is a system of relationships between employees

In Russia
In Russia, they started talking about social partnership since the end of 1991, when the relatively slow reform of the economy within the framework of the previous type of political power (1985-1991) was replaced by

And ways to resolve them
Plan: 1. Social and labor relations as a source of conflicts 2. The main classification of conflicts in the social and labor

Conflicts
Throughout the 90s. 20th century Russia is moving to a market economy, a variety of forms of ownership and management in the context of a change in the political formation of the country - from a communist

Permission or settlement
Classification of conflicts in the social and labor sphere is a necessary condition for understanding the procedure for their consideration. The main classification of conflicts is given in paragraph 4 of Article 37 of the Constitution

Resolution of collective conflicts
In world practice, labor relations and conflicts are regulated by the constitution and laws of the state. In a number of countries of the American continent, at the level of the constitution of the state, norms are enshrined

Jurisdiction of conflicts
One of the fundamental points in the regulation of conflicts in the social and labor sphere is the definition of their jurisdiction. Under the jurisdiction of social conflicts according to

conciliation procedures
The purpose of the organization’s labor dispute commission, conciliation commission, the procedure for considering a collective labor dispute with the participation of an intermediary or in labor arbitration with the participation

Politicians
In the domestic social science literature of recent years, it is customary to distinguish four spheres of society - economic, political, social and spiritual. Such a stratification

Politicians
Social policy is the essence, the basis of everything that the state should do, the content of all forms of its activity, because it is not a fragment of the state's activity, but a quint

Opportunities for development and operation
The nature and essence of social infrastructure. The intensification of economic growth requires a set of social measures and the creation of auxiliary facilities, arr.

Ways to optimize social
Reforms that began in the early 90s, XX century. found Russian society in a state of spontaneity. Abrupt political changes, although overdue in time, no less abrupt change in e

social policy
Plan: 1. Models of social policy: basic principles of construction 2. Social transformations in the countries of Western Europe

Construction principles
The modern world lives in conditions of transition from industrial to post-industrial society. Under these conditions, the fundamental mechanisms of socio-economic regulation are changing.

Western Europe and USA
Before talking about models of implementing social policy in countries with a developed system of market relations, we should dwell on general conditions in which the given

Experience of social reforms in the CIS and Baltic countries
Decay Soviet Union in the early 90s. led to the formation of fifteen independent states, which faced unprecedented problems in the social sphere, requiring

Streamlining the organization of wages
Implementation of measures aimed at eliminating wage arrears. Issuance against the balance of wage arrears to employees of self-supporting enterprises of debt obligations of these

Pension provision
Improving the policy of differentiating the size of pensions depending on the length of service and labor contribution in order to remove restrictions on the maximum size of pensions. Increasing the maximum dimensions p

Social assistance and subsidies
Ensuring a gradual transition to the provision of the vast majority of types of social assistance based on the average per capita income level. Continued reform of the organizational structure

Social safety nets
To improve the efficiency and targeting of the social protection system, significantly strengthen scientific support. Organization of work on the creation of an international system of training and retraining

And the implementation of social policy in Japan
Social policy in Japan at the stage of formation and implementation is considered in the general concept of state regulation national economy, providing conditions for

Refugees and forced migrants
According to the UN Refugee Convention, a refugee is “any person who is outside any country of which he is a national, or, in the service of

Homeless
A homeless person is a person who does not have a permanent home, or a person who does not lead a settled way of life. The presence of the homeless cannot be called a purely modern phenomenon, it is

Reasons for the existence of the homeless
There is a consensus on the socioeconomic causes of homelessness in many parts of the world. These include: the decline in production and the expansion of unemployment;

Family and technologies of social work with the family
Family is based on marriage and/or consanguinity small group, whose members are united by cohabitation and housekeeping, emotional connection, mutual

Women
Women represent a socio-demographic category of the population, which differs in a number of ways. physiological features, specific hormonal status, position in social

Disabled
Disabled people are a socio-demographic group; its fundamental characteristic is the presence of a legally formalized status of a disabled person. Grounds for recognizing a citizen as disabled

Old men
One of the trends observed in recent decades in the industrialized countries of the world is the growth in the absolute number and relative proportion of the population of older people. Happening unsettled

convicts
Convicts are a social group consisting of persons who, by a court decision, are serving sentences in state institutions for the execution of punishment for committed illegal actions.

Historical analysis of the problem
Children are persons under the age of 18. The number of children in Russia in 1999 was 34.9 million. or 23.9% of the country's total population; in 2000 these figures are

Children's health
Children's health can be assessed by various indicators: mortality, incl. infantile, morbidity, the level of their physical development. Analysis of statistical data showed that

Children's education
For the period from 1990 to 1999. the number of permanent preschool institutions decreased by 21.9%, and the number of children in them - by 37.8%. This is due to the decrease in the number of children from

Children and family
An important element in assessing the situation of children is the attitude towards them in the family. For a certain part of the population, children have become superfluous. So, for the period 1995-1999. number of children selected

material well-being
The financial situation of children directly reflects the financial situation of their parents and their families. Families with minor children are characterized by a lower

Drug addiction, alcoholism in children
The number of drug addicts, drug addicts, alcohol and tobacco users is increasing among children. Thus, only in the last 3 years the number of drug addicts has increased by 3.5 times. The most serious problem with

Children's crime
Teenagers are one of the most criminally active parts of the country's population. In 1998, the number of teenagers who committed crimes was 164.9 thousand people. (against 153.2 thous.

Basic terms and concepts
Altruism is a selfless, voluntary, disinterested service to people, helping them in difficult life situations - when caring for the seriously ill, dying, in raising children.

Politics real social
1) the concept and program of action of the state and the officials representing it (president, prime minister, heads of regions and others) and legal entities(legislative and executing

Sacred-paternalistic direction of social policy implementation
- a direction that provides for the full responsibility of state structures for everything that happens in the sectors of the social sphere, excludes the participation and responsibility of citizens in choosing directions

social infrastructure
1) a set of structural and functional elements of the economic system: industries, industries, enterprises, institutions, organizations, objects included in production relations, directed

Structure social
1) in relation to the problem of covering the entirety of its social realities - a relatively stable structure of society as an integral system, including composition (many stable elements)

technology social
1) a certain way of achieving public goals in the social sphere of public relations; 2) a set of techniques for achieving socially useful goals, to one degree or another corresponding to

As you know, the state is the most important institution of politics, in which it receives its most complete expression. At the same time, it is well known that the state not only influences economic activity, but is also one of its components. Similarly, the state plays an important role for culture. Already by virtue of the provision by the state of general social functions (maintaining order, protecting the population, regulating the most important systems of the functioning of society), it is the most important prerequisite for culture, without which society is at the mercy of local forces and local interests. The state also acts as an important "customer" and "sponsor", supporting cultural activities financially or through the granting of privileges.

Direct control over the creativity, minds and moods of the artistic intelligentsia is a difficult and often impossible task. To implement indirect manipulation, to bring chaotic processes in line with the tasks of the state ideology, as a rule, a set of legislative, administrative and financial measures, a number of social programs under the general name "cultural policy" are involved.

In our multinational country, the main goal of the state is to ensure the preservation in a single Russian culture of the diversity of the entire system of values ​​accumulated by previous generations. The state policy in the field of culture is based on the recognition of the fundamental role of culture in the development and self-realization of the individual, the humanization of society, the preservation of the national identity of peoples and the assertion of their dignity.

State policy in the field of culture in modern conditions should be aimed at solving such key problems as the threat of irreparable losses in the cultural heritage; a slowdown in the pace of modernization and innovation in cultural life - the most important factors in the self-development of culture and an increase in the social activity of the population; the gap in the cultural space and the reduction of Russia's participation in world cultural exchange; a reduction in the personnel potential of culture as a result of a sharp decline in the income level of creative workers, an outflow to other sectors of the economy and migration abroad; as well as a decrease in the level of provision of the population with cultural benefits.

Based on these problems, the following strategic directions of the state's cultural policy can be distinguished:

preserving the cultural potential and cultural heritage of the country, the system of creative and art education, ensuring the continuity of the development of Russian culture, along with supporting the diversity of cultural life, cultural innovation, promoting the development of domestic cinematography;

ensuring the unity of the cultural space, equal opportunities for residents of different territories of the country and representatives of different social groups to gain access to cultural values, creating conditions for a dialogue of cultures in a multinational state;

the formation of an orientation of the individual and social groups towards values ​​that ensure the successful modernization of Russian society;

formation of the ideological and moral foundations of a democratic legal state;

creation of conditions for development and reproduction creativity society.

The primary task of the state in the cultural sphere is to develop a legal framework that meets the new realities, which includes: stimulating tax incentives for investors in the cultural sector; operation of means of ensuring the safety and security of state cultural values; opportunity creative work and realization of the right to "free profession"; measures to increase liability for crimes against the cultural heritage of the country.

Management activities in the field of culture are carried out by the Government of the Russian Federation, the system of federal and other executive authorities. The government provides state support for culture and the preservation of both the cultural heritage of national importance and the cultural heritage of the peoples of the Russian Federation.

The current state administration of the cultural sector is carried out by the Ministry of Culture and Mass Communications. The main tasks of the Ministry are: implementation of state policy in the field of culture, ensuring the necessary conditions for the implementation of the constitutional rights of citizens of the Russian Federation to freedom of creativity, participation in cultural life and the use of cultural institutions, access to cultural values ​​and aimed at preserving historical and cultural heritage; determination of goals and priorities in the development of certain types of cultural activities, professional art, museum and library work, folk art, education and science in the field of culture. In view of the multinational territories of the Russian Federation, an equally important task is to promote the development of national cultures of the peoples of Russia.

Also, the main tasks of the Ministry include the development and implementation, in accordance with the international obligations of the Russian Federation, of a system of measures to prevent illegal export, import of cultural property and transfer of ownership of cultural property; implementation state control for the export of cultural property from Russia, compliance with the established procedure for the sale of antiques, as well as compliance with the rules of foreign economic activity in relation to cultural property; managing the activities of subordinate organizations.

The Ministry is in charge of:

Federal Agency for Culture and Cinematography;

Federal Agency for Press and Mass Communications;

Federal Archival Agency;

Federal Service for Supervision of Compliance with Legislation in the Sphere of Mass Communications and Protection of Cultural Heritage. (See appendix 1)

Theoretically, such a scheme looks quite logical. The creation of a single Ministry should destroy departmental partitions, ensure A complex approach to address cultural issues.

The division of the areas of activity of the Ministry and its subordinate federal agencies and the federal service is intended to delimit the functions of developing state cultural policy and legal regulation, management state property, control and supervision in this area.

However, in reality, things are much more complicated. The desire to achieve complexity, to overcome the departmental approach to culture turns into a purely mechanical addition of the functions of departments and, as a rule, does not lead to a positive result.

In practice, it is extremely difficult to distinguish between the functions of the Ministry and its subordinate agencies. As a result, we have two federal executive bodies in the field of "culture, art and cinematography" - the Ministry of Culture of Russia and the Federal Agency for Culture and Cinematography (FACC). And, as you know, seven nannies have a child without an eye. It's already felt good territorial bodies management of culture, specific organizations.

Similarly, the solution of issues of historical and cultural heritage is "dispersed" between the FAKK and the federal service.

Foreign experience shows that in a number of countries (Great Britain, the Netherlands, etc.) the state really determines only the general level of support for culture, allocating appropriate financial resources. The distribution of the latter between specific organizations is in charge of a structure independent of the government (council, fund, etc.). And even more so in the countries under consideration, the employees of the intermediary organization are not endowed with the status of civil servants.

Such a model certainly has the right to exist. But at the same time, the role of the state is determined by the political traditions that have developed in the country. In Russia, which until recently positioned itself as a welfare state that guarantees the preservation and development of culture, completely different traditions have been formed.

In general, it can be noted that the process of forming a management model in the field of culture is far from complete and it is simply impossible to judge the effectiveness of this model now.

The main function of the ministry, according to the Minister of Culture A.S. Sokolova, - preparation of draft laws, decrees in the professional sphere. The number one task of this federal governing body is the formation of a legal field - a space of authority and responsibility - for the interaction of cultural institutions and all subjects of state administration.

In the provision of cultural services by the state, the paramount direction is the formation of an ideological cultural field and a system of spiritual values ​​based on modern information technologies.

The strategy for the development of culture, cultural construction largely determines economic development. The example of modern developed countries shows that with the right paradigm of cultural development, investments in culture are medium- and long-term investments. On the contrary, underfunding of the sphere of culture or incorrect definition of accents in its development can have the opposite effect, that is, bring losses to the state.

By investing forces and resources in culture, the state determines the ways for the revival and further development of the Fatherland, however, it should be noted that the influence of culture on socio-economic development is a complex process.

There is an opinion that culture is less amenable to institutional ordering than other spheres. Due to the special role of creativity in culture, it is associated with the individual activity of artists and thinkers, writers and artists, which does not fit into attempts to regulate it. In the development of the cultural process, conflicts arise between the tendencies towards the centralization of cultural activity on the part of the state and its democratization, which is required by non-governmental organizations. The intervention of government bodies in the work of cultural organizations and groups is often simply necessary, since without government support they may not be able to withstand difficulties of various kinds (and not only financial, but also legal, political, etc.) and cease to exist. At the same time, state intervention is fraught with the dependence of cultural activity on the authorities, the ruling circles and the deformation of cultural life as a whole.

Attempts to solve socio cultural issues V modern Russia are heterogeneous: they are undertaken by all kinds of small groups, institutional and public organizations that have different attitudes towards the ongoing changes. In such circumstances, the decisive role belongs to the state cultural policy. As already mentioned, its priority area today is to help members of society adapt to changing conditions. public life means of culture (primarily mass culture), improvement of technological, personnel, organizational support of this sphere. In other words, a modern cultural industry should be formed in Russia, which provides the mass audience with high-quality cultural information and helps them to apply the information received for the benefit of each member of society and society as a whole. This task should be solved on the basis of the most efficient use of existing cultural institutions and the media. The ultimate goal is the formation in Russia of a modern information society that fits well into the global information space.

In the conditions of a transitional society, cultural policy should be socially oriented and based on intersectoral interaction. It is also necessary to abandon the outdated practice of building cultural policy on the basis of average indicators. It must be differentiated.

First, it is necessary to clearly distinguish between supporting strategies (preservation and development of existing institutions and objects of culture) and modernizing ones (promotion of organizational, technological, cultural and informational innovations). This will help to better organize the functioning of the relevant cultural institutions and sectoral management bodies.

Secondly, strategic decisions are differentiated depending on the degree of readiness of the regions for modernization transformations. Taking into account the specifics of the regions - with "growth zones", with "points of growth" and "depressive" - ​​allows you to build targeted programs.

The rationalization of the state cultural policy is all the more important because today not a single department is engaged in a systematic comprehensive solution of the problems presented above. In order for them to be effectively resolved, first of all, it is necessary to abandon the vicious practice of neglecting the sphere of culture and its financing “according to the residual principle”. Special attention should be paid to the development of criteria for selecting priority strategic directions in solving socially significant cultural problems. This will help overcome the current practice of making random, unsystematic, inconsistent decisions with each other.

Based on these goals, the main strategic directions of the cultural policy of the Russian Federation in the next five years (until 2010) are the following.

· Optimization of property relations in the field of culture, primarily in the field of cultural heritage (improving the efficiency of its use and strengthening measures for its conservation).

· Optimization of the application in the field of culture of legislative norms that delimit the powers of the federal center and the constituent entities of the Russian Federation and regulate the activities of local governments; in other words, ensuring the real unity of the cultural space of the country.

· Supporting the activities of public structures that contribute to the creation of mechanisms for self-regulation of creative and general cultural processes, the gradual abandonment of the direct participation of the state in the areas of activity mastered by these structures, using them as an expert resource in preparing decisions at the state level.

· Consistent increase in the role and share of program methods of management and financing of the industry, which will make it possible to give the implementation of cultural policy a systemic character and increase the efficiency of budget financing, focusing it on a specific result.

Necessary adaptation of the norms of the budget, tax, land codes, as well as customs legislation to the specifics of the activities of cultural institutions and creative organizations to avoid over-commercialization of culture, to ensure social accessibility of basic cultural services and to support non-commercial innovative projects.

· Creation and development throughout Russia of a network of basic centers and institutions of culture and mass communications, corresponding in their technical parameters to European standards and capable of providing a uniform level of service in all regions of the country.

One of the main points of the state cultural policy at the present stage should also be a clear understanding of the relationship between market and non-market principles of the functioning of culture in our country. The idea of ​​the possibility of transferring the entire culture to the market "rails" should be resolutely rejected as illusory: the more noticeable the influence of the market on certain types of cultural activity, the greater will be the participation (both financial and organizational) of the state in the second, non-market sector of culture. Otherwise, it is impossible to guarantee freedom of creativity and access to cultural values. In other words: the more market there is in culture, the more state obligations there are.

The new approach should also determine international priorities. Supporting competitiveness in the field of culture and mass communications involves not only holding relevant events abroad, but also, first of all, integrating figures of national culture and art production into the global system of division of creative labor. The tasks of promoting the Russian components of global mass culture to the world market are becoming a priority.

All this is directly related to the image of Russia and its culture in other countries. Today it is not devoid of a positive character, but it is dominated by motives associated with tradition and heritage. Meanwhile, this image needs to be supplemented with features of modern Russian culture - bold, relevant, receptive to innovations and experimentation. Such a culture certainly includes contemporary art, design, modern forms of heritage interpretation and new high-tech industries (computer, media, etc.).

In this context, our activities to support and disseminate the Russian language in other countries are especially important. We are already holding a number of events, awarding literary prizes to Russian-speaking writers, organizing voice-over competitions, student exchanges and summer schools for Slavists from different countries. However, this activity needs to be expanded and more focused on the final result - raising Russia's international prestige.

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GChapter 1. The essence of cultural policy

1.1 Definitionconcepts"cultural policy"

Currently, there are many definitions of cultural policy. There are as many definitions as there are authors discussing this topic.

Kravchenko A.I. characterizes cultural policy as follows: “Cultural policy, a system of practical measures financed, regulated and largely implemented by the state (along with private individuals), aimed at preserving, developing and enhancing the cultural heritage of the nation.”

Candidate of political sciences L.E. Vostryakov reflects quite extensively on cultural policy in his article “Cultural Policy: Concepts, Concepts, Models”. Besides the fact that the author moves away from the category of "cultural" as a positive coloring of politics, he also supplements his conclusions with international views on the essence of cultural policy. He starts with one of the very first definitions, which was given at the UNESCO round table in 1967 in Monaco. “…Under the policy in the field of culture, it was decided to understand “a set of operational principles, administrative and financial activities and procedures that provide the basis for the actions of the state in the field of culture”.”

The following definition, which is described by L.E. Vostryakov - the definition of the French researchers in the field of cultural policy Augustine Gerard and Genevieve Gentil, which emphasizes the definition of "cultural policy" in terms of not only the goals set, but also the state of institutions and resources. “Politics is a system of interrelated goals, practical tasks and means chosen by an expert and aimed at a specific group in society. Cultural policy can be carried out within the framework of an association, party, educational movement, organization, enterprise, city, government. But regardless of the subject of politics, it presupposes the existence of long-term goals, medium-term and measurable tasks and means (human resources, finances and legal framework), combined in an extremely complex system.

"1. The objectives of the activities of the central government must be combined with the interests of regional and local governments, as well as the interests of the main players in the cultural field;

2. The goals of the state must be correlated with the real possibilities of choosing the subjects involved in the processes of cultural policy;

3. The implementation of cultural policy always involves actions for the material, technical and creative support of the functioning of culture;

4. Cultural policy involves the distribution of resources, both financial and administrative, structural, human and creative;

5. Cultural policy necessarily involves planning, which is the process of preparing the state for participation in cultural activities, as well as planning the allocation of resources.

Adhering to this opinion about the essence of cultural policy, it is still worth supplementing these statements with other approaches to this phenomenon, which, as it were, supplement the existing conclusions. So, according to the characteristics of D.V. Galkin "Cultural Policy" (the English equivalent of cultural policy) is a concept that has been used since the 1970s mainly in the sociology of culture and applied social research to determine the role and functions of state power in the field of culture and art. “The political aspect of cultural policy involves the definition of the goals and priorities of the state for the preservation of cultural heritage, the creation of conditions for the existence of the artistic community (education, awards, funding for institutions) and the development of criteria for the social acceptability of artistic products (censorship). The social and political aspects are very close, assuming a policy of equal access to cultural benefits for the population and support and preservation of the cultural identity of various groups and communities. The institutional aspect creates and develops state cultural institutions while satisfying the cultural needs of citizens. The economic aspect is connected with the use of the cultural values ​​of the territories in order to stimulate business activity, as well as with the regulation of cultural industries. In the international legal aspect of cultural policy, projects are being implemented that preserve and develop cultural heritage. In the aesthetic aspect, the position “artist and power” is reflected, that is, the attitude towards power and the state in the artistic and artistic community.

Mamedova E.V. characterizes cultural policy as a policy in the field of culture. “Cultural policy (in the field of culture) is a policy in the field of culture, spiritual life, designed to create, maintain and improve the conditions for the activities of cultural representatives, to promote and disseminate cultural achievements, to familiarize the general population, especially young people, with them.”

Thus, policy in the field of culture can be defined as a set of scientifically based views and measures for a comprehensive socio-cultural modernization of society, structural reform of the entire system of cultural institutions, optimization of the combination of state and public components in socio-cultural life, scientific and educational support for the subsequent regulation of socio-cultural processes, and in general - as a conscious adjustment of the general content of culture.

Summing up the analysis of the category of cultural policy, I want to agree with the position of Oliver Bennett, Director of the Center for the Study of Cultural Policy at the University of Warwick, who aptly noted: “The difficulty of the term "cultural policy" lies in the fact that its meaning is volatile. Its parameters are never fixed. This means that cultural politics is constantly reproducing today the problem of its own terms and will continue to do so in the future.

1 .2 Cate, tasksand functions of cultural policy

The goals and objectives of cultural policy are determined primarily by the nature of the goals of social development, the form of government, the type political regime etc.

The state cultural policy should basically model the mechanisms of a naturally occurring civilizational process, act within the framework of its social and synergistic laws, and only stimulate the accelerated development of society in the direction in which it itself is objectively moving.

First, consider the goals and objectives of cultural policy.

Development and implementation of general humanistic and general social ideals, values, criteria for assessing what is happening

Development of normative goals for the development of culture in accordance with the social ideal

Assessment of real prospects and correction of decisions made based on feedback

State-legal and financial-economic support of the production system, distribution and consumption of cultural values ​​and benefits

Ensuring social guarantees, breadth of choice of cultural values ​​and their accessibility for all social strata

Preservation of the national specificity of culture and art

Creation of guarantees for the preservation of the cultural microenvironment and a single cultural space”.

From the above tasks, we can conclude that cultural policy is very important in the development of the country.

We'll look at functions next. From the definitions of cultural policy I have listed, the following functions can be distinguished:

Preservation of the cultural heritage of the people

Education of the younger generation

Transfer of cultural property

The supervisory function, that is, this function should be responsible for what should be attributed to the positive activities of cultural policy and to the negative, which activities in the field of cultural policy should not be allowed.

Here I have highlighted the functions of cultural policy, which are the most important.

In highlighting the main directions of cultural policy, its goals and objectives, it is important to address the character.

Chapter 2. Typologies of cultural policy models

2.1 Main modelsand types of cultural policy

There is currently big number typologies of policy models in the field of culture, which is explained by a different approach to determining its goals, mechanisms for implementation and results.

Thus, Abraham Mol distinguishes four groups of cultural policies, offering sociostatic and sociodynamic characteristics of cultural policy models as the basis for classification.

Sociodynamic policy in the sphere of culture, as opposed to sociostatic policy, corresponds to continuous changes and reflects the new content of culture in every era.

"Sociodynamic" policy, according to A. Mol, has two directions: "progressive" and "conservative". "In the first case, the subject of such a policy seeks to accelerate, in the second - on the contrary - to slow down the course of the evolution of culture."

The sociostatic model describes the sustainable goals of cultural policy and its institutions. It is divided, in turn, into three subgroups:

* Populist or demagogic, the goal of which is to satisfy cultural needs as much as possible more of people.

* Paternalistic or dogmatic, in accordance with which the right and the main channels for the dissemination of cultural values ​​belong to the "administrative council", which has an accurate scale of values ​​of existing and created cultural goods. Policy in the field of culture in this case serves the goals of a particular political party, religious movement or the state as a whole.

* Eclectic”, the task of which is to equip each person with an individual culture, which is an undistorted reflection, a “good” sample from a more general humanitarian and humanistic culture.

This classification of cultural policy models is not exhaustive. Moreover, it does not take into account the political specifics of the state in which it is implemented, and also does not take into account the actual subjects of the implementation of cultural policy.

All these factors are taken into account in the concept of cultural policy models proposed by M. Dragicevic-Sesic. As a criterion for highlighting the proposed models of cultural policy, the Belgrade culturologist suggests, on the one hand, "the nature of the political structure of the state, on the other hand, the place of the state and other actors in the implementation of cultural policy." By introducing these two basic criteria, the author obtains four models that are fundamentally different from each other. The obligatory characteristic of the model of liberal cultural policy, according to the author, is the private ownership of the means of production and the distribution of cultural goods. The market for cultural goods plays a decisive role here. The centerpiece of it belongs to the cultural industry and its standardized cultural products, created for the majority of members of society - the audience of mass culture. The role of private foundations is also decisive for the development of art.

The proposed model of liberal cultural policy, however, does not contain an analysis of the role of the state.

An integral feature of the model of state bureaucratic or educational cultural policy was the dominance of the state, which, with the help of the apparatus (legislative, political, ideological) and finance, controlled the sphere of culture. Like all other areas social life culture was oriented and planned by the central government. This model was typical for the socialist countries. The state model, according to the author, is inherent in France and Sweden. At its height, this policy turned writers into "engineers of human souls" and directed artists to "decorate" the city's largest buildings with drawings celebrating progress and achievement. Institutional culture and traditional cultural institutions had a dominant influence that threatened the creative and innovative dimension in culture. At the same time, the state guaranteed the financial protection of the cultural sector.

In my opinion, with all the shortcomings of this model, the financial protection of the cultural sphere by the state is a positive aspect of such a cultural policy.

According to the author, the model of national liberation cultural policy is most typical for the former colonies, but today it distinguishes the states of Eastern Europe. Its main feature is the development or assertion of original cultural traditions that were suppressed during the colonial or socialist period, which often leads to such consequences as "closed culture", nationalism and even chauvinism. Often this is accompanied by a rejection of artworks made in previous periods, a rejection of the culture of national minorities, alternative and experimental art. “In the third world countries, within the framework of this model, the task is to raise the general cultural level. In most cases, the Europeanized minority - the national elite - is opposed to the main part of the population still living in traditional culture. This creates a conflict between an elitist cultural model focused on universal values ​​and a populist one based on national values ​​often associated with religion.”

It seems to me that the above assessment is fixated on the negative aspects of the model, it is not taken into account that the national-liberation cultural policy is nevertheless aimed at developing national self-consciousness, although, of course, the ways in which this is achieved are debatable. However, the goals set can be achieved without resorting to the prohibition of alternative or experimental art.

Of particular interest is the model of the cultural policy of the transitional period proposed by the author. According to M. Dragicevic-Sesic, hallmark The cultural policy of a transitional society is that it even implements democratic guidelines through the structures of the state, which are not able to abandon the command-bureaucratic methods overnight. This leads to rather contradictory consequences, which most often shift cultural policy to a nationalist focus and close culture from the civilized world.

There are other approaches to the consideration of models of cultural policy in the modern world, which offer the existence of public support or the idea of ​​independent survival as criteria for selection.

It is this distinction between models of cultural policy that was proposed by the head of the research institute for cultural policy from Bonn, Andreas Wisand. He identifies two main models for the development of cultural policy. The first is based on the traditional idea of ​​public support for the arts and culture, and the second is based on the market model.

According to A. Wisand, in Europe at the end of the 20th century, there was a movement from the model of the cultural policy of the welfare state to the recognition of a market-type cultural policy model.

Some countries vacillate between new trends and traditional ideas.

Considering the model of cultural policy built on the principles of public support, Professor Wisand singled out the following among its main characteristics:

* The interest of the authorities is focused on the traditionally main institutions of culture, such as museums, theaters, libraries and cultural centers, which receive funding. At the same time, creative figures play the role of missionaries carrying "truth", and experimental culture is considered insignificant.

* The main goal is to maintain the institutional balance in culture and art with the help of currents that have received recognition.

* Since the main source of funding is considered the state budget, tools of state regulation are needed, which are planning and programming.

* Policy is mainly carried out at the national level; international cultural ties occur only within the framework of diplomatic relations.

* For control, the authorities create all kinds of artistic councils.

Such a model of cultural policy, however, can give rise to the following problems:

The conditions for innovation are minimal. New examples of artistic and cultural activity, especially those introduced by the younger generation, are often rejected.

Policy makers and policy makers have little understanding of cultural development and cultural innovation. Preference is given to traditional forms of culture and art.

Agile planning tools are hard to come by.

Dominates administrative decision-making; the influence of administrators is too significant, and the role of artists is limited.

The market-oriented model of cultural policy, according to Wisand, is characterized by the following approaches:

* Culture, like other sectors of public life, is regulated by the market.

* Policy is mainly focused on economic development.

* Traditional barriers between high culture and mass culture are becoming irrelevant.

* The main term of cultural policy is "cultural management", based on the ideas of "mixed cultural economy" and commercial sponsorship, which promise more than they can give.

* Particular attention is paid to the development of culture at the local level, although in fact transnational politics are being strengthened, for example, in Europe.

* An important role in shaping policy is played by the cultural elite, primarily from the world of art. Its activities are provided by experts - marketers and from the business sector.

The limitations of the market model are as follows:

Those artistic and cultural activities that require constant funding, but are not able to prove their economic viability (even in the light of indirect effects), seem unpromising.

The criterion of profitability prevails; the freedom of creators is often suppressed because they themselves are unable to find sponsors, that is, partners with the same interests.

International orientation is often relevant only to a limited number of countries and most often affects the entertainment industry, controlled by multinational, mostly American corporations.

The interests of the audience and publicity are often overestimated, and this can lead to an imbalance in the market, both economically and in terms of product content.

Expert bodies often perform only formal functions, and the power of managers who show little interest in the content of artistic creativity may be too great.

“However, whatever model is chosen as the base for a particular country, it should be remembered that these are often only formally proclaimed principles, which in reality are strongly adjusted by informal rules,” notes in his article “Cultural Policy: Basic Concepts and Models” Lev Vostryakov.

2.2 Models of cultural policy in Europe and the USA

Let us consider country differences in the formation of certain models of cultural policy.

The European Group of Experts identifies four models of cultural policy used in different countries of the world and at the same time representing different development scenarios. It is very important that the basic criterion for distinguishing between these existing models is precisely the principle of financing the cultural sphere, and not political grounds.

The first model is American: the role of state power in the field of culture is weak here.

“The federal agency National Fund for the Arts has limited funds. The main share of funding comes from private sponsors, foundations and individuals.”

The second model is decentralization (operates, for example, in Germany): budget financing is carried out by regional and local authorities. The center, deprived of a ministry, has limited competence in the field of culture, participating in this process only as an additional source of money. Cultural policy, adopted and supported by law, in this case includes private funding along with state and public funding.

The third model, adopted in the UK, Scandinavian countries, Canada, is based on the arm's length principle, according to which the government, in determining the total amount of subsidies for culture, does not participate in their distribution. This function is carried out by independent administrative bodies, which, in turn, transfer the right to distribute financial resources to special committees and groups of experts. This practice is designed to "keep politicians and bureaucrats at arm's length" from the work of distributing funds, as well as to protect artists and institutions from direct political pressure or illegal censorship.

“In the UK, for example, the members of the Arts Council, although appointed by the Minister for Culture, are selected from among the most respected intellectuals and cultural professionals. All members of the Council are assumed to be politically neutral, have no vested interests, and do not represent any private interests. According to C. Robinson, who had experience as chairman of the Arts Council of Great Britain, it is really possible to gather authoritative intellectuals, and they cope well with the tasks assigned to them: “The members of the Council have no other motivation than to try to find the right solution in interests of the future art of the whole country. Council members must be top-notch professionals, bearers of the highest cultural values ​​and be able to "choose between the best, the best and the average". An important point at the same time, there is complete independence of such experts from state structures; they do not receive any remuneration for their work, for them it is an honorable mission. And since the position of each member of the Council becomes public, this excludes all sorts of behind-the-scenes machinations: one's own reputation is more expensive. Contributes to the impartiality of decisions and the rotation of the composition of such councils. Such a system of resource distribution does not cancel, but, on the contrary, suggests the possibility of financing cultural projects, programs and individual groups by individuals and organizations, whose decision is not subject to criticism, since here we are talking about own funds which their owner is free to spend as he pleases.

In my opinion, this model is optimal. It takes into account most of the factors for the successful development of culture.

The fourth model, the European Group of Experts notes in the report, “is based on the existence of a strong cultural administration at the central level, an administration that, in addition to its direct expenditure on supporting cultural development, also plays the role of stimulating and coordinating force in the activities of all partners in cultural life, in particularly regional and local communities. This body is a kind of engine, it respects the concepts of the creators, the programs developed by the heads of cultural organizations. “Support and funding are distributed not arbitrarily in the quiet of offices by officials, but on the basis of the opinions of specialized commissions, which include experts and independent specialists.”

Canadian scientists G. Chartrand and C. McCahy, analyzing the experience of state cultural policy in different countries, came to the conclusion that there are at least four conceptual attitudes of governments in relation to culture: “assistant”, “architect”, “engineer” and “philanthropist” .

The state, acting as an "architect", finances culture through the channel of the ministry or other state body. Cultural policy is thus part of the entire social policy, and its goal is the general improvement of the well-being of the people. France and other Western European countries can serve as an example of such relations between the state and culture.

In the role of "assistant" of culture, according to scientists, is the state in the United States. Funding for culture is carried out in the form of counter subsidies that stimulate private or collective investments in this area.

An analysis of the situation in Eastern European countries gives grounds to speak of the state as an "engineer". This role becomes possible for the state in the event that it is the owner of the material base of culture, the functioning of which is associated with the tasks of upbringing and education and is directed to the implementation of these goals. A striking example is the rise of the USSR.

In Anglo-Saxon countries, the state usually acts as a "philanthropist". Here, the funds for financial support and development of culture are managed by art councils, which, by distributing state subsidies, do not allow the bureaucracy to interfere directly in the creative process, in the activities of organizations receiving assistance (the “long arm” principle).

Thus, cultural policy has always had and has a concrete historical character: it is conditioned by national- historical type culture, the historical type and political nature of the state, the level of development of society, its geopolitical orientations and other factors.

2.3 Cultural policy of the Republic of Belarus

cultural policy state

The cultural policy of the state is a reflection of its view of the spiritual world of citizens, how it should be, what will shape it.

At the moment, the main document for the analysis of the cultural policy of Belarus can be considered a plan for the future in the form of the state program "Culture of Belarus" for 2011-2015, which is a strategy for the development and effective use of the country's cultural potential, support for innovations in the field of culture.

The strategic goal of the state policy in the field of culture is the development and effective use cultural potential of the country, support for cultural innovation. “The goal of the State Program is to increase social and economic efficiency functioning of the sphere of culture.

The culture of Belarus as an independent branch of social and cultural construction includes a wide range of state and public bodies.

Fundamentals of the legislation of the Republic of Belarus on culture determine the legal, economic, social, organizational beginnings of the development of culture in the Republic of Belarus, regulate social relations in the field of creation, distribution, preservation and use of cultural values ​​and are aimed at: realization of the sovereign rights of the Republic of Belarus in the field of culture; revival and development of the culture of the nation and cultures of national minorities that live on the territory of the Republic of Belarus; ensuring freedom of creativity, free development of cultural and creative processes, professional and amateur artistic creativity; realization of the rights of citizens to have access to cultural values; social protection of cultural workers; creation of material and financial conditions for the development of culture. Executive authorities ensure the implementation of policy in the field of culture; carry out with the participation of public associations the development of state programs for the development of culture and their financing; create conditions for the revival and development of the culture of the nation, the cultures of national minorities that live on the territory of the Republic of Belarus, etc. Management activities in the field of culture are carried out by a system of executive authorities, each of which exercises its competence in separate areas of cultural construction: directly culture, television and broadcasting, cinematography, publishing, etc. The system of culture management bodies consists of: the Ministry of Culture of the Republic of Belarus, the departments of culture of the regional city state administrations, the departments of culture of the district state administration.

In the Republic of Belarus, the right of citizens to enjoy the achievements of culture, as well as other social rights guaranteed by the Constitution. The needs for culture are met through the development of diverse cultural and educational institutions: libraries, theaters and cinemas, clubs, houses of culture, museums, etc.

The main principles of our state policy in culture are: planning, consistency, gradualness, continuity.

In the sphere of culture and public life, our republic is characterized not by aggressive nationalism, but by state support for the historically established bilingualism, the revival of spirituality and the preservation of traditional religious confessions, art in all forms.

The state is pursuing a consistent policy to preserve the cultural heritage of Belarusians, the best features of the Belarusian character: respect for people of other nationalities and confessions, tolerance, tolerance, humanism, peacefulness.

The state and the state budget are consistent guarantors of financial support for the development of art and culture. The principle of continuity in cultural policy is expressed in the preservation of the infrastructure of state institutions of culture and art.

Analyzing the state program "Culture of Belarus" for 2011-2015, the legislative acts of the Republic of Belarus in the field of culture and art, we can conclude that in Belarus there is a fluctuation from the model of the cultural policy of the welfare state to the model of the cultural policy of the market type.

Conclusion

Based on the analysis of the literature, the following conclusions should be drawn: policy in the field of culture can be defined as a whole - as a conscious adjustment of the general content of culture.

The functions of cultural policy are:

* preservation of the cultural heritage of the people,

* education of the younger generation,

* transfer of cultural values,

* observation function.

The essence of cultural policy is the implementation of actions for the material, technical and creative support of the functioning of culture; distribution of resources: financial, administrative, structural, human and creative; participation of the state in cultural activities and in planning the distribution of resources.

Having found out what the essence of cultural policy is, it became clear to me that cultural policy helps not to develop the state, but most importantly - to develop society as a whole spiritually (including upbringing, education, assimilation of values, and so on).

Having considered the types and models of cultural policy, we can say that each type and each model is as different as the states in which the type and model that best suits them, based on the whole socio-cultural situation, prevails. You should not copy the model of another state. In order to improve our cultural activities, in the applied dimension of our culture, negative and positive aspects in different models of cultural policy should be taken into account and, on the basis of this, clear, understandable and effective principles of cultural policy should be formed.

Bbibliographic list

1. Vostryakov L.E. "Cultural Policy: Concepts, Concepts, Models" // El. resource: http://www.dvinaland.ru/culture/site/Publications/EoC/EoC2004-1/07.pdf.

2. State program "Culture of Belarus" for 2011-2015

3. Report of foreign experts on the cultural policy of Russia // Cultural policy of Russia. History and modernity. Two views on one problem / Otv. ed. I.A. Butenko, K.E. Razlogov. - M.: Liberia, 1998

4. Dragichevich-Sheshich M. Cultural policy in a transitional society: fragments of political and cultural analysis // Panorama of the cultural life of the CIS and Baltic countries: Inf. - M., Ed. RSL, 1999

5. Kamenets A.V. Cultural policy and modern cultural situation // Landmarks of cultural policy. M., 1994

6. Kravchenko A.I. Culturology: Tutorial. M.: Academic project, 2001. // El. Resource: http://www.countries.ru/library/politic/cp1.htm

7. Cultural policy and artistic life. - M.: Inform.-ed. Russkiy Mir agency, 1996

8. Mamedova E.V. Cultural policy // Philosophical sciences. 2000. No. 1. Email Resource: http://www.i-u.ru/biblio/content.aspx?dictid=1&wordid=15497

9. Mol A. Sociodynamics of culture. M., 1973

10. Sorokina O.M. "Problems of cultural policy". // Email Resource: http://istina.rin.ru/cgi-bin/print.pl?sait=3&id=3049.

11. Tverdokhlebov N.I. Some Aspects of the Cultural Policy of the US Government // Culture in the Modern World: Experience, Problems, Solutions: Inf. Sat. - M.: Ed. RSL, 1994. Issue. 9

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One of the main directions of cultural policy both at the international and national levels is preservation of the potential of cultural heritage. Sustainable development requires careful protection and transfer to the next generations of the historical experience and cultural achievements of society. Cultural heritage is a moral and spiritual experience accumulated by generations, a source of inspiration and creativity, the most important factor in maintaining national identity.

Intensive changes in society give rise to more and more new problems of preserving and reviving cultural heritage. In a dynamic world, it is threatened by environmental pollution, destroyed as a result of military operations, destroyed with limited resources, lack of knowledge, and suffers from uncontrolled tourism.

Unfortunately, all over the world there are problems associated with the use of cultural heritage to achieve economic goals, with the illegal trade in works of art, the dishonest sale of handicrafts, and the manipulation of museums. The issues of accessibility of archives and museum collections, the development of research on the interpretation of cultural heritage, etc. need to be worked out.

The main challenge is to use cultural heritage for development. Strategies of this kind should be developed primarily at the regional level, taking into account the socio-economic characteristics of the territories, the interests and demands of the population, the cultural potential of the region as a whole, but not limited to this. The richness of the culture of different peoples can and should be the basis for their interaction.

An effective remedy tourism is becoming a factor in the preservation of heritage, increasing the possibilities of access to cultural values. With its help, it is possible to accelerate the implementation of projects for the revival and preservation of cultural heritage, the restoration of cultural monuments. Performing the functions of social, cultural, aesthetic, tourism at the same time acts the most important factor self-financing heritage, a source of investment in its conservation.

Tourism should not develop only within itself, as is often the case today - it is necessary that the income from the use of cultural resources return to the sphere of culture and be used for subsequent measures to protect cultural values. In establishing this process, a significant role belongs to state bodies that perform a coordinating function in the interaction of interested parties, contribute to the creation of a legal environment that ensures the development of the tourism industry.

Another priority area of ​​cultural policy can be characterized as "creativity support" in the broad sense of the word, it means not only the self-expression of a person through art, the support of cultural innovations, but also the resolution of problems in any field, the creation of a new way of life.



The most important tasks of cultural policy, which can be attributed to the sphere of transforming the surrounding reality on the basis of creative imagination and initiative, are associated not only with supporting the development of professional creativity and professional art education, but also with strengthening the role of cultural figures and institutions in solving social and political problems, in formation of a socially active personality *.

Among the modern aspects of the promotion of collective and individual creativity, as well as the development of democratic access to culture, the intensification of cultural dialogue, one should mention the analysis of the possibilities of the cultural industry. This sector is characterized by the phenomenon of the simultaneous presence and absence of the state, especially in industries that were quite recently unknown and for which until recently there were no management strategies (discs, CDs, videos)*.

* See: Cultural policy of Russia. S. 218.

The sphere of cultural industry in the world is intensively developing, thousands of jobs are created in it, and it itself constitutes a large share of national production in every country*. In international documents, the cultural industry appears as a dynamic area that contributes to the development of culture at the national, regional and local levels, as well as facilitating the dissemination of the relevant products of a country abroad. The cultural industry is given a significant role in social development, in the generation of cultural heritage.

* Cm.: Erasov B.S. Social Cultural Studies: In 2 hours 4.1. M., 1994. S. 339-340.

The fact that such forms of culture as cinema, television, book publishing, production of audio and video recordings develop mainly on a commercial basis cannot but leave an imprint on the quality of products. At the same time, if the market is the only arbiter of the quality of the products of the cultural industry, then creativity in this area may be compromised, and decisions that are made here mainly on the basis of commercial criteria may harm the cultural component. First of all, this concerns little-known creators and new forms of aesthetic expression. At the same time, the promotion of truly competitive products is the key to preventing the danger of monoculture. Creators, artists, entrepreneurs must have the opportunity to fully function in the national cultural industry, to create products that would be competitive in global markets. To do this, in the field of culture, it is necessary to strengthen interaction between the state, business sectors, various civil society organizations, implement joint projects in the cultural industry (production, investment, transfer of rights), encourage research on the study of culture and its dissemination in the media.

With the world moving toward interdependence, the cultural industries need more than ever cooperation between governments of different countries. Here are the directions in which it could unfold: promoting the development of common markets; creation of networks for information exchange, development of telecommunications; joint production of television and radio programs, video and multimedia products, films; protection of the rights of the artist, actor; exchange of relevant experience; education.

In the 90s. The cultural industry in Russia has developed quite rapidly despite the economic downturn. The state is trying to regulate certain processes in the field of film production, television broadcasting, radio broadcasting, the release of audio and video recordings, mass literature. At the same time, many areas still remain without its influence, developing according to the market paradigm. Russian cinema also requires attention as a means of pursuing a state policy aimed at familiarizing broad sections of society with spiritual and cultural values.

The development of cinema, which embodies both art and production, dictates the need to create a well-coordinated organizational, legal and economic mechanism that ensures “the achievement of the socio-cultural tasks of the state in combination with the normalization of market commodity turnover in the production and distribution of film products”*.

* federal program"Culture of Russia". 2001-2005 // Culture. 2000. 7-13 Sept. P. 10.