The value of folklore in the life of the people. The phenomenon of folklore and its educational value
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The role of folklore in human life Performed by: Polina Ziganshina, Vlad Krivonogov, Olga Savinova, students of grade 4 A, secondary school No. 30, Syzran Supervisors of the work: Zarubina Natalya Gennadievna, primary school teacher.
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At present, the issue of the revival of folk traditions in Russia is acute. In this regard, folklore is of great importance. Folklore is a special area of poetic art. It reflects the centuries-old historical experience of people.
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Relevance: is it worth talking about folklore today? We think it's worth it. In the modern world, where new toys and computer programs for children are created every day, many simply forgot about the importance of folklore for the upbringing and development of a student. We have always been interested in such questions: why, when grandmothers and mothers sang lullabies to us, we quickly fell asleep? Why when we sing and listen to ditties, our mood rises? Why is it very easy to remember the words of jokes? Why folk teasers are not offensive? Therefore, for the study, we chose the topic: "The role of folklore in human life"
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The purpose of the study: to study folklore genres and explore the influence of folklore in the development and upbringing of children. Research objectives: to study the genres of oral folk art; consider the significance of various forms of folklore in the life of a child; conduct and describe practical research, summarize the results;
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Our hypothesis is that folklore works are not in demand in the modern world, although their influence on the development of schoolchildren's education is positive. Objects of research: folklore. Subject of study: forms of folklore.
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Ritual folklore Calendar folklore reflects folk holidays, an appeal to nature: our ancestors turned to Mother Earth and other deities, asking her for protection, a good harvest and grace. Family and household folklore that described life from the moment of his birth
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Non-ritual folklore 1. Folklore drama 2. Folklore poetry 3. Folklore prose 4. Folklore of speech situations.
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Acquaintance with folklore begins from the first days of a person's life. Mothers sing lullabies for newborns. These are songs that lull a child to sleep. The words in them are gentle, melodious, they do not have sharp sounds. In such songs, cooing ghouls, homely swallows, and a comfortably purring cat most often act. These songs talk about peace and quiet.
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And then the songs - pestles appeared. Pestle is a short poetic sentence of nannies and mothers, which is accompanied by the movements of the child in the first months of life. Then the very first games begin - nursery rhymes. A nursery rhyme is a sentence song that accompanies the game with the fingers, arms and legs of a child.
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The child already knows how to speak. But not all sounds are obtained from him. This is where phrases come to the rescue. A tongue twister is a small poem in which the words are specially chosen so that they are difficult to pronounce. In children's spells, the memory of the prayer appeals of our forefathers has been preserved. Calls are songs in which the guys turn to the forces of nature with some kind of request. The serious, economic basis of spells was forgotten, the fun remained.
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In children's spells, the memory of the prayer appeals of our forefathers has been preserved. Calls are songs in which the guys turn to the forces of nature with some kind of request. The serious, economic basis of spells was forgotten, the fun remained. A sentence is a short poem that children say in different cases, for example, referring to living creatures - to a snail, a ladybug, to birds, pets.
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All primitive peoples had a rite of initiation of boys into full members of the clan - hunters. Mind, ingenuity, the child had to show in guessing riddles. A riddle is a brief allegorical description of an object or phenomenon. Rhymes also help to develop correct speech. This is a fun, mischievous genre. If during the game you need to choose a driver, use counting rhymes.
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I recall the words of A. S. Pushkin: “What a charm these fairy tales are!” It is through them that a person learns the world around him. These are not just funny or instructive, scary or sad fictional stories. In fact, these seemingly simple stories contain deep folk wisdom, a person's idea of the world and his people, of good and evil, justice and dishonor.
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When meeting with the librarian Arifulina Nina Vasilievna, we asked her a question: “Do the students of our school often take books with works of oral folk art to read?” Nina Vasilievna answered us: “Unfortunately, not often, only when they are asked at literature lessons.”
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With the question “What place does the study of works of oral folk art take in the literature program?” we turned to the teacher of Russian language and literature Gulyaeva Elena Valentinovna. The answer pleased her. The study of folklore occupies a significant place in the program. We asked: “Why do a small proportion of students go to the school library for books?” Elena Valentinovna answered that many students get information on the Internet, many children have books in their home libraries.
Introduction
Folklore is the main means of folk pedagogy. Folk pedagogy is an academic subject and type of activity of adults in educating the younger generation, a set and interconnection of ideas and ideas, views and opinions and beliefs, as well as the skills and techniques of the people on the development of the upbringing and education of the younger generation, reflected in folk art. This is the mentality of the nation in relation to the younger generation, and educational traditions in the family and society, and the connection and continuity of generations.
Folklore is an invaluable national treasure. This is a huge layer of the spiritual culture of the Belarusians, which was formed by the collective efforts of many generations over many centuries. At the present stage of national revival, it is necessary to return to what was achieved by our ancestors.
Belarusian national folklore is one of the richest in the Slavic world. It is saturated with pedagogical experience and folk wisdom. On the basis of folklore, a huge layer of ethical and pedagogical ideas was created: respect for elders, diligence, tolerance, goodwill, and tolerance for other people's opinions.
Tolerance, tolerance, virtue, as traditional Christian virtues, gradually became the hallmarks of Belarusians. Moreover, they coexist with such qualities as personal dignity, purposefulness, and activity.
Folklore with educational content, household traditions, holidays, Belarusian classical literature - these are the concepts that have a huge impact on the formation of a national character. It contributes to the creative development of children and youth in the world of epics, fairy tales, legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, interest in the history and culture of the people.
Thus, folklore is the main source of knowledge about the principles of education that have developed in the culture of different peoples, its moral, religious and mythical foundations. The figurative and symbolic nature of artistic creativity, its impact on the emotional and sensory sphere of the individual makes it the most adequate means of unobtrusiveness and at the same time effective educational impact.
Consideration of this course topic is relevant and interesting at the same time.
The educational potential of folklore is unlimited. Today, our society is reviving the forgotten traditions of antiquity, using folk experience, creating new models of educational theories and practices.
Attention to folklore, ancient layers of culture, tradition in general, as an inexhaustible source of education and development of a person, has been especially active in the socio-pedagogical environment in recent years. This is due to the functional features of the genres of folklore, with the deep spirituality and wisdom of folk art, with the continuity of the process of transferring national culture from generation to generation.
At the beginning of the new century, there is an increased interest in national culture, ethnic processes, traditional art, and folklore. Scientists note a special growth of the historical and national self-consciousness of each nation, explaining this by socio-psychological, political reasons.
Preservation and development of national culture, its roots is the most important task, which requires careful attitude to historical and cultural monuments, to traditional folk art. The revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and fine arts is an urgent problem of our time. Folklore, its genres, means, methods most fully fill the whole picture of people's life, give a vivid picture of the life of the people, their morality, spirituality. Folklore reveals the soul of the people, its dignity and features. From the point of view of science, folklore is a phenomenon that deserves special study and careful evaluation.
The purpose of the course work is to reveal the significance of folklore in the system of national education.
Objectives of the course work:
- to characterize the phenomenon of folklore and its educational value;
- to characterize the main genres of folklore, based on the educational potential of each;
- to show the practical application of the main folklore genres in education.
The object of this course is the multifaceted phenomenon of national folklore, and the subject is the genres of folklore and their educational potential.
Methods used in writing coursework - descriptive, comparative analysis, analysis of literary sources.
folklore educational genre
1. Folklore is a means of national education
1.1 The concept and essence of folklore
The term "folklore" (translated as "folk wisdom") was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, woodcarving, etc.), and sometimes material (housing, clothing) culture of the people. In modern science there is no unity in the interpretation of the concept of "folklore". Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. From the beginning of the 20th century the term is also used in a narrower, more specific sense: verbal folk art.
Folklore (English folklore) - folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses of the people (traditions, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, visual and arts and crafts.
Folklore is the collective and tradition-based creativity of groups and individuals, determined by the hopes and aspirations of society, which is an adequate expression of their cultural and social identity.
According to B.N. Putilov, there are five main variants of the meanings of the concept of "folklore":
1. folklore as a combination, variety of forms of traditional culture, that is, a synonym for the concept of "traditional culture";
2. folklore as a complex of phenomena of traditional spiritual culture, realized in words, ideas, ideas, sounds, movements. In addition to the actual artistic creativity, it also covers what can be called the mentality, traditional beliefs, folk philosophy of life;
3. folklore as a phenomenon of the artistic creativity of the people;
4. folklore as a sphere of verbal art, that is, the field of oral folk art;
5. folklore as phenomena and facts of verbal spiritual culture in all their diversity.
The narrowest, but also the most stable of these definitions is the one that connects it mainly with the genres of oral folk art, that is, with verbal, verbal expression. This is indeed the most developed area of folklore, which has made a huge contribution to the development of the science of literature - a direct descendant, "successor" of oral folk art, genetically associated with it.
The concept of "folklore" also means all areas of folk art, including those to which this concept is usually not applied (folk architecture, folk arts and crafts, etc.), since it reflects an indisputable fact, all types and genres of professional art have their origins in folk art, folk art.
The oldest types of verbal art arose in the process of the formation of human speech in the era of the Upper Paleolithic. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions, through which primitive man sought to influence the forces of nature, fate, were accompanied by words: spells, conspiracies were pronounced, various requests or threats were addressed to the forces of nature. The art of the word was closely connected with other types of primitive art - music, dance, decorative art. In science, this is called "primitive syncretism." Traces of it are still visible in folklore.
As humanity accumulated more and more significant life experience that needed to be passed on to the next generations, the role of verbal information increased. The separation of verbal creativity into an independent form of art is the most important step in the prehistory of folklore. Folklore was a verbal art, organically inherent in folk life. The different purpose of the works gave rise to genres, with their various themes, images, and style. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, mythological stories, conspiracies. The decisive event that paved the line between mythology and folklore proper was the appearance of a fairy tale, the plots of which were perceived as fiction.
In ancient and medieval society, the heroic epic took shape. There were also legends and songs reflecting religious beliefs (for example, Russian spiritual verses). Later, historical songs appeared, depicting real historical events and heroes, as they remained in the people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldier's, coachman's, burlak's songs. The growth of industry and cities brought to life romances, anecdotes, worker, school and student folklore.
For thousands of years, folklore has been the only form of poetic creativity among all peoples. But even with the advent of writing for many centuries, up to the period of late feudalism, oral poetic creativity was widespread not only among the working people, but also among the upper strata of society: the nobility, the clergy. Having arisen in a certain social environment, the work could become a national property.
1.2 Specific features of folklore
Collectivity is one of the most important specific features of folk oral art. Each work of oral folk art not only expresses the thoughts and feelings of certain groups, but is also collectively created and distributed. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes created songs, ditties, fairy tales, which, in accordance with the laws of oral folk art, were already distributed without the name of the author. With the social division of labor, peculiar professions arose associated with the creation and performance of poetic and musical works (ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.). Collectivity is not a simple co-authorship, but a special long process of improving songs, fairy tales, legends, proverbs and sayings. Collectivity is most clearly manifested in the constant process of selection and polishing of works of folk poetry: of many works, the people choose and preserve the best, similar to their thoughts and aesthetic views. The collective beginning in folklore is not opposed to the individual. Folklore is characterized by an organic combination of the collective and the individual, while the collectivity does not interfere with the manifestation of the individual abilities of writers and performers.
The oral form of the existence of folklore is organically connected with the collectivity of folk art. Folklore appeared earlier than writing and originally existed only in oral transmission. The oral form of the existence of folk poetry leads to the appearance of variants of the same folklore work - this is another specific feature of folklore - variability.
Folklore works differ from fiction in the peculiarities of their artistic form. These features include, first of all, the traditional poetics developed by the people over the centuries. Traditional folk symbols, constant epithets, metaphors give folk art a specific flavor.
Folklore differs from written literature in the peculiarities of typification. Literature is characterized by the creation of typical characters in a typical setting. A typical character, reflecting the main features of his social environment and his era, manifests itself through the individual qualities of the hero, through an individual and unique appearance. Images of oral folk art do not have such individualization.
1.3 Functions and educational potential of folklore
Firstly, folklore contributes to the deepening of knowledge about the folk spiritual culture in its past and present. Folklore introduces the life, traditions, customs of one's own and the "neighboring people".
Secondly, with the help of folklore, the assimilation of moral and behavioral cultural norms and values enshrined in the culture of a people is carried out. Moral and behavioral norms and values are expressed in a system of images. Revealing the characters of fairy-tale characters, delving into the essence of their actions, the student understands what is good and what is bad, thereby easily determines his likes and dislikes, comprehends folk ideas about human beauty. Wise folk proverbs and sayings inform about behavioral norms.
Thirdly, with the help of folklore, it is possible to cultivate a respectful attitude towards the culture of one's own ethnic group, as well as a tolerant attitude towards other ethnic cultures. Studying folklore, the child realizes that the people are the creator, the creator of the cultural heritage that needs to be admired and proud of. Folklore is a centuries-old folk work that preserves the history of an ethnic group.
Fourthly, folklore contributes to the development of aesthetic taste. The child feels the beauty of folk thought, he has a need to communicate with the people. He seeks to understand what means the people use in their work, and tries to apply them in the future.
Belarusian folklore occupies a special place in the national culture of Belarusians and performs the following functions:
1. aesthetic
2. educational
3. cognitive
aesthetic function folklore lies in the fact that it forms an artistic taste in children, develops the ability to appreciate and understand beauty, and contributes to the formation of a harmoniously developed personality.
essence educational function lies in the fact that oral folk art, being a means of folk pedagogy, forms the qualities of a human character. Proverbs, sayings, fairy tales are filled with high moral and ethical meaning and give characterological assessments of a person from the standpoint of "good" and "bad".
The cognitive value of folklore It is concluded that this is a way of introducing the child to the outside world.
1.4 Genres of folklore
All folklore genres are usually grouped, as in literature, into three groups or three types: dramatic, prose and song.
Any folklore originates in small genres, which include riddles, proverbs and sayings.
A proverb is understood as a well-aimed figurative saying of an instructive nature, typifying the most diverse phenomena of life and having the form of a complete sentence.
Proverbs satisfied many spiritual needs of the working people: cognitive-intellectual (educational), production, aesthetic, moral, etc.
Proverbs are not antiquity, not the past, but the living voice of the people: the people retain in their memory only what they need today and will need tomorrow. When a proverb talks about the past, it is evaluated from the point of view of the present and the future - it is condemned or approved, depending on the extent to which the past reflected in the aphorism corresponds to the people's ideals, expectations and aspirations. (6; 36)
The proverb is created by all the people, therefore it expresses the collective opinion of the people. It contains the people's assessment of life, the observations of the people's mind. A successful aphorism, created by an individual mind, does not become a popular proverb if it does not express the opinion of the majority.
Folk proverbs have a form favorable for memorization, which enhances their significance as ethnopedagogical means. Proverbs are firmly embedded in memory. Their memorization is facilitated by a play on words, various consonances, rhymes, rhythm, sometimes very skillful. The ultimate goal of proverbs has always been education, since ancient times they have acted as pedagogical means. On the one hand, they contain a pedagogical idea, on the other hand, they have an educational impact, carry out educational functions: they tell about the means, methods of educational influence that correspond to the ideas of the people, give characterological assessments of the personality - positive and negative, which, in one way or another, determine the goals of personality formation. , contain a call for education, self-education and re-education, condemn adults who neglect their sacred duties - pedagogical, etc.
There is a lot of practical material in proverbs: everyday advice, wishes in work, greetings, etc.
The most common form of proverbs is admonitions. From a pedagogical point of view, teachings of three categories are interesting: teachings that instruct children and youth in good morals, including the rules of good manners; teachings that call adults to decent behavior, and, finally, instructions of a special kind, containing pedagogical advice, ascertaining the results of education, which is a kind of generalization of pedagogical experience. They contain a huge educational and upbringing material on the issues of upbringing. According to proverbs, positive and negative personality traits are presented as the goals of upbringing and re-education, suggesting an all-round improvement in the behavior and character of people. At the same time, it is noteworthy that all peoples recognize the infinity of human perfections. Any person, no matter how perfect he is, can climb one more step of perfection. This step leads not only man, but also humanity to progress. Many proverbs are motivated and reasoned calls for self-improvement.
In the "Literary Encyclopedia" a riddle is characterized as "an intricate poetic description of an object or phenomenon that tests the ingenuity of the guesser." The definitions of the riddle are based on the same signs:
- the description is often framed in the form of an interrogative sentence;
- the description is concise and the rhythm is inherent in the riddle.
Thus, a riddle is a brief description of an object or phenomenon, often in poetic form, containing an intricate task in the form of an explicit (direct) or supposed (hidden) question.
Riddles are designed to develop the thinking of children, to teach them to analyze objects and phenomena from various areas of the surrounding reality; moreover, the presence of a large number of riddles about the same phenomenon made it possible to give a comprehensive description of the object (phenomenon). But the significance of riddles in mental education is far from being exhausted by the development of thinking; they also enrich the mind with information about nature and knowledge from the most diverse areas of human life. The use of riddles in mental education is valuable in that the totality of information about nature and human society is acquired by the child in the process of active mental activity.
Riddles contribute to the development of the child's memory, his imaginative thinking, the speed of mental reactions.
The riddle teaches the child to compare the features of various objects, to find common things in them, and thereby forms in him the ability to classify objects, to discard their insignificant features. In other words, with the help of a riddle, the foundations of theoretical creative thinking are formed.
The riddle develops the observation of the child. The more observant the child, the better and faster he guesses riddles. A special place in the process of raising children is occupied by the diagnostic function of the riddle: it allows the educator, without any special tests and questionnaires, to identify the degree of observation, ingenuity, mental development, as well as the level of creative thinking of the child.
A proverb - from the simplest poetic works, such as a fable or a proverb, can stand out and independently turn into living speech, the elements in which thicken their content; this is not an abstract formula of the idea of the work, but a figurative allusion to it, taken from the work itself and serving as its deputy (for example, “a pig under an oak”, or “a dog in the manger”, or “he takes out dirty linen from a hut”)
A saying, unlike a proverb, does not contain a generalizing instructive meaning.
Proverbs and sayings are comparative or allegorical statements and contain the worldly wisdom of the people. From these two sprouts, metaphors (in riddles) and figurative comparisons (in sayings), folk poetry grows.
Song genres of folklore are represented by epic songs and ballads, ritual and lyrical songs, ditties, labor songs and improvisations. Lamentations also join the song genre.
The songs reflect the age-old expectations, aspirations and innermost dreams of the people. The songs are unique in their musical and poetic design of the idea - ethical, aesthetic, pedagogical. Beauty and goodness in the song act in unity. Good fellows, sung by the people, are not only kind, but also beautiful. Folk songs have absorbed the highest national values, focused only on good, on the happiness of man.
Songs are a more complex form of folk poetry than riddles and proverbs. The main purpose of the songs is to instill a love for the beautiful, to develop aesthetic views and tastes. The song is characterized by high poeticization of all aspects of folk life, including the upbringing of the younger generation. The pedagogical value of the song is that beautiful singing was taught, and it, in turn, taught beauty and kindness. The song accompanied all the events of folk life - work, holidays, games, funerals, etc. The whole life of people passed in the song, which best expressed the ethical and aesthetic essence of the individual. A complete song cycle is the life of a person from birth to death. Songs are sung to a baby in a cradle who has not yet learned to understand, an old man in a coffin who has already ceased to feel and understand. Scientists have proven the beneficial role of gentle songs in the mental development of a child in the womb. Lullabies not only lull the baby to sleep, but also caress him, soothe, and bring joy. Some categories of songs are designed for specific age groups, although, of course, most songs cannot be sharply demarcated and distributed by age. Small children sing other songs of adults with special enthusiasm. Therefore, we can only talk about the predominant performance of certain songs at a particular age.
Noteworthy means of educational influence are pestle and nursery rhymes. In them, the growing child completely occupies the attention of an adult. Pestushki got their name from the word to nurture - to nurse, to carry in their arms. These are short poetic refrains that accompany the movements of the child during nurturing.
Pestushki make sense only when accompanied by their tactile reception - a light bodily touch. Gentle massage, accompanied by a cheerful unpretentious song with a distinct pronunciation of poetic lines, causes a cheerful, cheerful mood in a child. In pestles, all the main points of the physical development of the child are taken into account. When he begins to stand on his feet, he is told one thing; a child taking the first steps is taught to stand firmly on its legs and at the same time other pests speak.
The pestles gradually turn into nursery rhymes that accompany the child's games with fingers, arms, legs. In these games, there is often also a pedagogical one - instruction in diligence, kindness, friendliness.
The song is a complex form of folk poetry. The main purpose of songs is aesthetic education. But they are aimed at the implementation of other aspects of personality formation, i.e. are a complex means of influencing the individual.
The songs reveal the external and internal beauty of a person, the meaning of beauty in life; they are one of the best means of developing aesthetic tastes in the younger generation. Beautiful melodies enhance the aesthetic impact of the poetic words of the songs. The influence of folk songs on peasant youth has always been enormous, and their significance has never been limited to the beauty of verse and melody (external beauty, beauty of form). The beauty of thoughts, the beauty of content are also among the strengths of folk songs.
And the words of the songs themselves, and the conditions, and the nature of their performance contribute to the strengthening of health, the development of diligence. The songs glorify health, it is called happiness, the highest good. The people have always believed that songs develop the voice, expand and strengthen the lungs: “To sing loudly, you must have strong lungs”, “A sonorous song expands the chest”.
The importance of the song in the labor education of children and youth is invaluable. As mentioned above, the songs accompanied and stimulated the labor process, they contributed to the coordination and unification of the labor efforts of the workers.
Fairy tales are an important educational tool, worked out and tested by the people over the centuries. Life, folk practice of education convincingly proved the pedagogical value of fairy tales. Children and a fairy tale are inseparable, they are created for each other, and therefore acquaintance with the fairy tales of one's people must be included in the course of education and upbringing of each child.
The most characteristic features of fairy tales are nationality, optimism, the fascination of the plot, imagery and fun, and, finally, didacticism.
The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs, and the surrounding nature. In the beliefs of the people there was a lot of superstitious and dark. This dark and reactionary is a consequence of the difficult historical past of the working people. Most of the fairy tales reflect the best features of the people: diligence, talent, loyalty in battle and work, boundless devotion to the people and homeland. The embodiment of the positive traits of the people in fairy tales made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of the people, their best traits, and cultivate these traits in the younger generation, nationality turns out to be one of the most important characteristics of fairy tales.
Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the sufferings of the positive hero and his friends are transient, temporary, joy usually comes after them, and this joy is the result of a struggle, the result of joint efforts. Optimism children especially like fairy tales and enhances the educational value of folk pedagogical means.
The fascination of the plot, imagery and amusingness make fairy tales a very effective pedagogical tool.
Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. In the hero, those main character traits that bring him closer to the national character of the people are usually very convex and vividly shown: courage, diligence, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, as a result of hyperbolization, the feature of industriousness reaches the maximum brightness and convexity of the image (in one night to build a palace, a bridge from the hero’s house to the king’s palace, in one night to sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, grind, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, courage, etc.
Imagery is complemented funnyness fairy tales. The wise educator-people took special care to make fairy tales interesting and entertaining. In the folk tale, there are not only bright and lively images, but also subtle and cheerful humor. All peoples have fairy tales, the special purpose of which is to amuse the listener.
Didacticism is one of the most important features of fairy tales. Fairy tales of all peoples of the world are always instructive and instructive. It was precisely noting their instructive nature, their didacticism, that A.S. Pushkin at the end of his "Tale of the Golden Cockerel":
The tale is a lie, but there is a hint in it!
Good fellows lesson.
Due to the features noted above, fairy tales of all peoples are an effective means of education. Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.
Folk theatre, which exists in forms that are organically connected with oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of reincarnation. Theatricalization of the action was present in calendar and family ceremonies (Christmas costumes, weddings, etc.).
In the folk theater, a theater of live actors and a puppet theater are distinguished. The Russian theater of Petrushka was close to the Ukrainian nativity scene, the Belarusian batleika.
The most characteristic feature of the folk theater (as well as folklore art in general) is the open conventionality of costumes and props, movements and gestures; during the performances, the actors communicated directly with the audience, which could give lines, intervene in the action, direct it, and sometimes take part in it (sing along with the choir of performers, portray minor characters in crowd scenes).
The folk theater, as a rule, had neither a stage nor scenery. The main interest in it is focused not on the depth of disclosure of the characters of the characters, but on the tragic or comical nature of situations and situations.
The folk theater acquaints young spectators with verbal folklore, develops memory, figurative thinking. Comic characters ridicule the vices of people, dramatic ones teach empathy. By participating in their simple productions, the child learns to speak correctly and beautifully, to make a speech in front of the public, to overcome shyness.
Folk dance is one of the oldest types of folk art. The dance was part of folk performances at festivals and fairs. The appearance of round dances and other ritual dances is associated with folk rituals. Gradually moving away from ritual actions, round dances were filled with new content, expressing new features of life.
The peoples engaged in hunting, animal husbandry, reflected in the dance their observations of the animal world. The character and habits of animals, birds, domestic animals were conveyed figuratively and expressively: the Yakut bear dance, the Russian crane, the gander, etc. grape). The folk dance often reflects the military spirit, valor, heroism, battle scenes are reproduced (Georgian horumi, berikaoba, Cossack dances, etc.). The theme of love occupies a large place in folk dance art: dances expressing nobility of feelings, respectful attitude towards a woman (Georgian kartuli, Russian Baino quadrille).
Dance allows you to develop plasticity, special coordination of movements, methods of correlation of movement with music. Children learn to move rhythmically, to communicate with each other in motion (round dance, stream).
In folk arts and crafts, the non-voluminous, eternally living soul of the people, their rich practical experience and aesthetic taste are immortalized. Artistic woodworking, pottery, weaving, painting, weaving and embroidery were the most developed in Belarus.
In certain features of folk art, the norms of work and life, culture and beliefs can be traced. The most common element is the ornament born in antiquity, which helps to achieve the organic unity of the composition and is deeply interconnected with the technique of execution, the sense of the object, the plastic form, the natural beauty of the material. Folk craftsmen have been highly valued since ancient times. The secrets of their craft were passed down from generation to generation, from father to son, combining the wisdom and experience of the past and the discovery of the present. Children from an early age were involved in work, helping their parents. Joint work helps children to better master the craft, learn from the experience of a mentor (parents), instills diligence.
2. The practice of using folklore and folklore genres in the system of national education
Folklore contributes to the creative development of children and youth in the world of fairy tales, epics, legends. Findings of the centuries-old history of spiritual traditions, systematized in folklore, should be used in the construction of a modern model of education.
Consider the practical application and potential proverbs in national education.
It is difficult to overestimate the importance of labor education in the general system of folk pedagogy, it really is its core. Since ancient times, the labor education of children and youth has been the most important duty of parents, and then of educational institutions and other public institutions. That is why there are a great many proverbs praising labor and ridiculing laziness among the peoples of the whole world.
Not the one who is good-looking is good, but the one who is good for business (Russian proverb).
Great in body, but small in deed (Russian proverb)
A small deed is better than a big idleness (Russian proverb)
If you like to ride - love to carry sleds (Russian proverb)
You have to bend down to drink from the stream (Russian proverb)
Gultay for work, and mazol by the hand (Belarusian proverb)
Love for the motherland, one's native land is the most important topic in the education of patriotism.
That bird is stupid, which does not like its nest.
Motherland is a mother, know how to stand up for her.
Someone else's food has a different taste.
Each sandpiper praises his swamp.
Where the pine has grown, there it is red.
The steppe is useless for the swan, the lake for the bustard.
In his swamp the frog sings.
Houses and walls help.
On his street and the dog is a tiger.
Pile hut, like a native uterus.
A special place in the system of aphorisms is occupied by proverbs that teach respect for elders.
Shanuy people, then i tsyabe plow. (4; 302)
Pavage the old one, pavuchay the little one.
Proverbs and sayings in artistic images recorded the experience of a lived life in all its diversity and inconsistency.
unraveling riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, conclusions, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and concisely convey images of objects, develops a “poetic view of reality” in children.
Reflecting the picturesque landscapes of the motherland, full of colors, sounds, smells, riddles contribute to the education of aesthetic feelings.
fluffy carpet
Not hand-woven,
Not sewn with silk,
With the sun, with the moon
Shines silver (snow)
Riddles help children learn about the world around them, introduce them to the world of things.
Here are examples of riddles about household items.
Two rings, two ends, carnations in the middle (scissors)
I don’t have legs, but I walk, I don’t have a mouth, but I’ll tell you when to sleep, when to get up, when to start work (hours)
Riddles draw on the habits of animals, in riddles about vegetables and fruits, plants and berries, special attention is paid to the features of appearance.
Sleeps in winter, stirs hives in summer (bear)
Shaggy, mustachioed, prowling through pantries, looking for sour cream (cat)
I will get round, ruddy from the tree (apple)
Low and prickly, sweet and fragrant, you pick berries - you rip off all your hands (gooseberry)
The value of the riddle is that in a highly poetic form it reflects the economic and labor activity of a person, his way of life, experience, flora, fauna, the world as a whole, and to this day has great artistic significance in the upbringing of children.
Fairy tales, being works of art and literature, they were at the same time for the working people an area of theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical works, i.e. they contain pedagogical ideas.
The great Russian teacher K.D. Ushinsky had such a high opinion of fairy tales that he included them in his pedagogical system. Ushinsky saw the reason for the success of fairy tales with children in the fact that the simplicity and immediacy of folk art correspond to the same properties of child psychology.
Fairy tales, depending on the topic and content, make listeners think, suggest reflections. Often the child concludes: “It doesn’t happen like that in life.” The question involuntarily arises: “What happens in life?” Already the conversation of the narrator with the child, containing the answer to this question, has a cognitive value. But fairy tales contain cognitive material directly. It should be noted that the cognitive significance of fairy tales extends, in particular, to individual details of folk customs and traditions, and even to household trifles.
For example, in the Chuvash fairy tale “He who does not honor the old, he himself will not see the good” tells that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet and not on water, but only on oil. What came of it? As soon as she opened the lid, millet grains, not boiled, but roasted, jumped out, fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their worldly experience, otherwise you will be punished. But for children, it also contains educational material: they fry in oil, not boil it, therefore, it is ridiculous to cook porridge without water, in oil alone. Children are usually not told about this, because in life no one does this, but in a fairy tale children are instructed that everything has its place, that everything should be in order.
Here is another example. The fairy tale “A penny for a miser” tells how a smart tailor agreed with a greedy old woman to pay her one penny for each “star” of fat in the soup. When the old woman was adding oil, the tailor encouraged her: “Lay, put, old woman, more, do not spare oil, because I ask you not without reason: I will pay a penny for every “star”. The greedy old woman put more and more butter in order to get a lot of money for it. But all her efforts gave an income of one penny. The moral of this story is simple: don't be greedy. This is the main idea of the story. But its educational value is also great. Why, - the child will ask, - did the old woman get one big "asterisk"?
In fairy tales, the idea of the unity of education and upbringing in folk pedagogy is implemented to the maximum extent.
Folk lyric song significantly different from other genera and
types of folklore. Its composition is more diverse than the heroic epic, fairy tales and other genres. Songs were created at far from the same time. Each time composed its own songs. The duration of the life of each song genre is not the same.
Childhood songs are a complex complex: these are adult songs composed specifically for children (lullabies, nursery rhymes and pestles); and songs that gradually passed from the adult repertoire to the children's (carols, stoneflies, chants, game songs); and songs composed by the children themselves.
In infancy, mothers and grandmothers lull their children with gentle lullabies, entertain them with pestles and nursery rhymes, playing with their fingers, arms, legs, tossing them on their knees or on their hands.
Well-known: "Magpie-crow, cooked porridge ..."; “Okay, okay! Where were you? -
By Grandma…".
Pestushki - songs and rhymes that accompany the first conscious movements of the child. For example:
"Oh, sing, sing
Nightingale!
Ah, sing, sing
Young;
young,
Pretty,
Pretty."
Nursery rhymes - songs and rhymes for the first games of a child with fingers, arms, legs. For example:
"Sniffs, little pigs!
Rotok - talkers,
Hands are grasping
Legs are walkers."
Calls - children's song appeals to the sun, rainbow, rain, birds:
- Spring is red! What did you come for?
- On a bipod, on a harrow,
On an oatmeal sheaf
On a rye spike.
Sentences are verbal appeals to someone. For example, they say in the bath:
From gogol - water,
From a baby - thinness!
Roll off all.
A special place in song folklore is occupied by a lullaby.
The foxes are sleeping
All in pieces
The martens are sleeping
Everything is in mints,
The falcons are sleeping
All in nests
The sables are sleeping
Wherever they please
little kids
They sleep in cradles.
In lullabies, mothers talk about the surrounding reality, think aloud about the purpose and meaning of life, pronounce their worries, joys and sorrows. In a lullaby, a mother finds an outlet for her feelings, an opportunity to speak out to the end, speak out and get a mental release.
The lullaby is the greatest achievement of folk pedagogy, it is inseparably connected with the practice of raising children at that very tender age, when a child is still a helpless creature that requires constant caring attention, love and tenderness, without which he simply cannot survive.
Folk songs contain joy and sorrow, love and hate, joy and sadness. The songs reveal the best features of the national character of the Belarusians: courage, courage, truthfulness, humanism, sensitivity, diligence.
Conclusion
The experience of public education among all ethnic groups, nations and peoples is very rich. As an analysis of the traditional culture of education has shown, this experience is characterized by almost the same requirements for the qualities of the personality being formed and the system of means for its upbringing and education. It is a kind of (common to all mankind) folk wisdom, a system of universal values, proven over the centuries. But this does not mean that it is necessary to use the entire arsenal of folk remedies and upbringing factors without changes and critical evaluation. It is necessary to take those of them that work today and correlate with our ideas about humanism and universal values.
It is in vain to think that oral folk art was only the fruit of popular leisure. It was the dignity and mind of the people. It formed and strengthened his moral image, was his historical memory, the festive clothes of his soul and filled with deep content his whole measured life, flowing according to the customs and rituals associated with his work, nature and veneration of fathers and grandfathers.
Folklore plays an important role in the education of children. Dividing it into genres allows at a certain age the child to enrich his spiritual world, develop patriotism, respect for the past of his people, the study of its traditions, the assimilation of moral and moral norms of behavior in society.
Folklore develops the oral speech of the child, affects his spiritual development, his imagination. Each genre of children's folklore teaches certain moral standards. So, for example, a fairy tale, by likening animals to people, shows the child the norms of behavior in society, and fairy tales develop not only imagination, but also ingenuity. Proverbs and sayings teach children folk wisdom that has been tested for centuries and has not lost its relevance in our time. The epic epic is a heroic narrative about the events that took place in antiquity. And although epics are not so easy for children to perceive, they are nevertheless aimed at fostering respect for the past people, at studying the traditions and behavior of people at all times, at the patriotism of the Slavic people, who, in spite of everything, remained faithful to their homeland and defended it in every possible way. Song lyrics also have an impact on the upbringing of children. It is mainly used when the child is still very young. For example, lullabies are sung to a baby to calm him down, to put him to sleep. Also, the song lyrics include ditties, jokes, pestles, tongue twisters, counting rhymes. Here they are just aimed at the development of hearing and speech in children, since they use a special combination of sounds.
Thus, the introduction of a child to folk culture begins from childhood, where the basic concepts and examples of behavior are laid. Cultural heritage is passed down from generation to generation, developing and enriching the child's world. Folklore is a unique means for transmitting folk wisdom and educating children at the initial stage of their development.
Bibliography
1. Baturina G.I., Kuzina T.F. Folk pedagogy in the education of preschoolers. M., 1995.-S. 7–8.
2. Belarusian folklore. Reader. vyd. 2nd dap. Sklali K.P. Kabashnikau, A.S. Lis, A.S. Fyadosik, I.K. Tsishchanka Minsk, Higher School, 1977.
3. Bel. vusna - paet. creativity: Padruchnik for students fil. specialist. VNU / K.P. Kabashnikau, A.S. Lis, A.S. Fyadosik i insh. - Mn.: Minsk, 20000. - 512 p.
4. Belarusians. T.7. Vusnaya paetychnaya tvorchast / G.A. Bartashevich, T.V. Valodzina, A.I. Gursky i insh. Redkal. V.M. Balyavina i insh; In-t of craftsmanship, ethnagraphy and folklore. – Mn.: Bel. Navuka, 2004.-586 p.
5. Berezhnova, L.N. Ethnopedagogy: textbook. allowance for students. Higher Proc. institutions / L.N. Berezhnova, I.L. Nabok, V.I. Shcheglov. - M .: Publishing house. Center "Academy", 2007. - 240 p.
6. Volkov, G.N. Ethnopedagogy: Proc. for stud. avg. and higher ped. textbook institutions / G.N. Volkov - M .: Publishing Center "Academy", 1999. - 168 p.
7. Volodko, V.F. Education / V.F. Volodko; BNTU - Minsk: Law and Economics, 207 - 230 p.
8. Literary encyclopedia. M.A. Puzzles. M., 1964, v. 2, p. 970.
9. Chernyavskaya Yu.V. Belorussian: touches to a self-portrait. Ethnic self-image of Belarusians in fairy tales / Chernyavskaya Yu.V. - Minsk: "Four quarters", 2006. - 244 p.
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Nadezhda Smolyaninova
Essay "My ideas about the meaning of folklore in modern life"
We live in a difficult perestroika time, when everyone cares about how to live a calm day. Therefore, over the years, you begin to look at many things differently, you rediscover something and reevaluate it. First of all, this refers to our past, which we know very superficially. Restore the connection of times will help folklore. It is he who tells us: how people lived, worked; reveals the spiritual world of a Russian person.
I didn't know anything about folklore, when "I met" with him at an early age, and this was facilitated by my grandmother. She was the one who told me the story "Ryaba Hen" and sang a lullaby "About the wolf". Listening to the fairy tale every day, I quickly learned it myself. She sang a lullaby to a naked doll. And only then, twenty years later, I realized that I was only one year old then. As a teenager, I heard many Russian folk songs from my grandmother, which she used to sing in the village. Her favorite was "You, garden, you, my garden". And a lot of ditties and proverbs. All this knowledge was involuntarily deposited in my head for the time being. My children were born - that's when I remembered all this good and useful things. Working for almost thirty years as an educator, I constantly turned to the Russian folk creativity: either she collected Russian folk games, or nursery rhymes, or painstakingly studied the life of people, their clothes, etc. All this was useful to me in my work.
Children, unlike adults, know how to rejoice with all their hearts. In moments of communication with them, being in a Russian hut of a kindergarten, you always want to tell a lot, show, explain, let you touch the things made by the old masters: chest and samovar, spinning wheel and poker, unsteady and embroidered blankets. Here we also dance, sing, learn and show dramatizations and skits from the Petrushka Theater. All children, without exception, are interested.
If you want to know about the importance of folklore in modern life then I can answer definitely: need it! Every child needs it, because from contact with him a little man becomes kinder, better, smarter, learns to think adequately, compare good and evil, and do good deeds.
Folklore- this is the basis of our way of life life He is like the air we breathe. This is something without which every Russian person cannot live.
The task of teachers of preschool and school institutions is to ensure that for several years (while the child is in kindergarten and school) introduce children to Russian folklore and give them knowledge, which will then be useful to them in life.
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What is modern folklore and what does this concept include? Fairy tales, epics, legends, historical songs and much, much more - this is the heritage of the culture of our distant ancestors. Modern folklore should have a different appearance and live in new genres.
The purpose of our work is to prove that folklore exists in our time, to indicate modern folklore genres and to provide a collection of modern folklore compiled by us.
In order to look for signs of oral folk art in modern times, you need to clearly understand what kind of phenomenon it is - folklore.
Folklore is folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry, songs created by the people and existing among the masses, as well as applied crafts, fine arts, but these aspects will not be considered in the work.
Folk art, which originated in ancient times, is the historical basis of the entire world artistic culture, the source of national artistic traditions, and the spokesman for national identity. Folklore works (fairy tales, legends, epics) help to recreate the characteristic features of folk speech.
Folk creativity everywhere preceded literature, and among many peoples, including ours, it continued to develop along with and alongside it after its emergence. Literature was not a simple transfer and consolidation of folklore through writing. It developed according to its own laws and developed new forms that were different from folklore ones. But its connection with folklore is obvious in all directions and channels. It is impossible to name a single literary phenomenon, the roots of which would not go into the centuries-old layers of folk art.
A distinctive feature of any work of oral folk art is variability. Since for centuries the works of folklore were transmitted orally, most folklore works have several variants.
Traditional folklore, created over the centuries and which has come down to us, is divided into two groups - ritual and non-ritual.
Ritual folklore includes: calendar folklore (carols, Shrovetide songs, stoneflies), family folklore (family stories, lullabies, wedding songs, etc.), occasional (conspiracies, incantations, spells).
Non-ritual folklore is divided into four groups: folk drama (Petrushka theater, vet drama), poetry (chastushkas, songs), folklore of speech situations (proverbs, sayings, teasers, nicknames, curses) and prose. Folklore prose is again divided into two groups: fairy tale (fairy tale, anecdote) and non-fairy tale (legend, tradition, bylichka, story about a dream).
What is "folklore" for modern man? These are folk songs, fairy tales, proverbs, epics and other works of our ancestors, which were created and passed from mouth to mouth a very long time ago, and have come down to us only in the form of beautiful books for children or literature lessons. Modern people do not tell fairy tales to each other, do not sing songs at work, do not cry and lament at weddings. And if they compose something “for the soul”, then they immediately write it down. All works of folklore seem incredibly far from modern life. Is it so? Yes and no.
Folklore, translated from English, means "folk wisdom, folk knowledge." Thus, folklore must exist at all times, as the embodiment of the consciousness of the people, their lives, ideas about the world. And if we do not come across traditional folklore every day, then there must be something else, close and understandable to us, something that will be called modern folklore.
Folklore is not an invariable and ossified form of folk art. Folklore is constantly in the process of development and evolution: Chastushki can be performed to the accompaniment of modern musical instruments on modern themes, folk music can be influenced by rock music, and modern music itself can include elements of folklore.
Often the material that seems frivolous is "new folklore". Moreover, he lives everywhere and everywhere.
Modern folklore has taken almost nothing from the genres of classical folklore, and what it has taken has changed beyond recognition. “Almost all the old oral genres are becoming a thing of the past - from ritual lyrics to fairy tales,” writes Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore at the Russian State University for the Humanities).
The fact is that the life of a modern person is not connected with the calendar and the season, so in the modern world there is practically no ritual folklore, only signs are left for us.
Today, non-ritual folklore genres occupy a large place. And here, not only changed old genres (riddles, proverbs), not only relatively young forms (“street” songs, anecdotes), but also texts that are generally difficult to attribute to any particular genre. For example, urban legends (about abandoned hospitals, factories), fantastic "historical and local history essays" (about the origin of the name of the city or its parts, about geophysical and mystical anomalies, about celebrities who visited it, etc.), stories about incredible incidents, legal incidents, etc. Rumors can also be included in the concept of folklore.
Sometimes, right before our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society. Who hasn't heard of cacti supposedly "absorbing harmful radiation" from computer monitors? Moreover, this sign has a development: "not every cactus absorbs radiation, but only with star-shaped needles."
In addition to the structure of folklore itself, the structure of its distribution in society has changed. Modern folklore no longer carries the function of self-consciousness of the people as a whole. Most often, the carriers of folklore texts are not residents of certain territories, but members of some sociocultural groups. Tourists, goths, parachutists, patients of one hospital or students of one school have their own signs, legends, anecdotes, etc. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Moreover, the elements of the group may change, but the folklore texts will remain.
As an example. During a campfire hike, they joke that if the girls dry their hair by the fire, the weather will be bad. The whole campaign of the girls is driven away from the fire. Once on a hike with the same travel agency, but with completely different people and even instructors a year later, you can find that the omen is alive and they believe in it. Girls are also driven away from the fire. Moreover, there is opposition: you need to dry your underwear, and then the weather will improve, even if one of the ladies still broke through with wet hair to the fire. Here, not only the birth of a new folklore text in a certain group of people is evident, but also its development.
The most striking and paradoxical phenomenon of modern folklore can be called network folklore. The main and universal feature of all folklore phenomena is the existence in oral form, while all network texts are, by definition, written.
However, as Anna Kostina, deputy director of the State Republican Center for Russian Folklore, notes, many of them have all the main features of folklore texts: anonymity and collective authorship, variability, traditionalism. Moreover, online texts clearly strive to "overcome writing" - hence the widespread use of emoticons (allowing to indicate intonation), and the popularity of "padon" (deliberately incorrect) spelling. Funny untitled texts are already widely circulating on the net, absolutely folklore in spirit and poetics, but incapable of living in a purely oral transmission.
Thus, in the modern information society, folklore not only loses a lot, but also gains something.
We found out that in modern folklore there is little left of traditional folklore. And those genres that remained have changed almost beyond recognition. New genres are also emerging.
So, today there is no longer ritual folklore. And the reason for its disappearance is obvious: the life of modern society does not depend on the calendar, all ritual actions that are an integral part of the life of our ancestors have come to naught. Non-ritual folklore also highlights poetic genres. Here are urban romance, and courtyard songs, and ditties on modern topics, as well as such completely new genres as chants, chants and sadistic rhymes.
Prose folklore has lost fairy tales. Modern society makes do with already created works. But anecdotes and many new non-fairy genres remain: urban legends, fantastic essays, stories about incredible incidents, etc.
The folklore of speech situations has changed beyond recognition, and today it looks more like a parody. Example: "He who gets up early - he lives far from work", "Do not have one hundred percent, but have one hundred clients."
In a separate group, it is necessary to single out a completely new and unique phenomenon - network folklore. Here and "padonsky language", and network anonymous stories, and "letters of happiness" and much more.
Having done this work, we can say with confidence that folklore did not cease to exist centuries ago and did not turn into a museum exhibit. Many genres simply disappeared, those that remained changed or changed their functional purpose.
Perhaps, in a hundred or two hundred years, modern folklore texts will not be studied at literature lessons, and many of them may disappear much earlier, but, nevertheless, new folklore is a representation of a modern person about society and about the life of this society, its identity and cultural level. A remarkable richness of ethnographic details characterization of various social groups of the working population of Russia in the middle of the 19th century was left by V. V. Bervi-Flerovsky in his book The Condition of the Working Class in Russia. His attention to the peculiar features of the life and culture of each of these groups is found even in the very titles of individual chapters: "Worker-tramp", "Siberian farmer", "Trans-Ural worker", "Worker-miner", "Mining worker", "Russian proletarian ". All these are different social types representing the Russian people in a specific historical setting. It is no coincidence that Bervi-Flerovsky considered it necessary to single out the characteristics of the “moral mood of workers in the industrial provinces”, realizing that this “mood” has many specific features that distinguish it from the “moral mood”<работника на севере», а строй мыслей и чувств «земледельца на помещичьих землях» не тот, что у земледельца-переселенца в Сибири.
The era of capitalism and especially imperialism brings new significant transformations in the social structure of the people. The most important factor that has a tremendous impact on the entire course of social development, on the fate of the entire people as a whole, is the emergence of a new, most revolutionary class in the history of mankind - the working class, whose entire culture, including folklore, is a qualitatively new phenomenon. But the culture of the working class must also be studied concretely historically, in its development, its national, regional and professional characteristics must be taken into account. Within the working class itself there are different strata, different groups, differing in the level of class consciousness and cultural traditions. In this regard, the work of V. I. Ivanov “The Development of Capitalism in Russia” retains great methodological significance, which specifically examines the various conditions in which the formation of working class detachments took place in industrial centers, in the industrial south, in an atmosphere of “special life” in the Urals. .
The development of capitalist relations in the countryside is breaking up the rural commune, splitting the peasantry into two classes—small producers, some of whom are constantly being proletarianized, and the rural bourgeois class—the kulaks. The idea of a single supposedly peasant culture under capitalism is a tribute to petty-bourgeois illusions and prejudices, and an undifferentiated, uncritical study of the peasant creativity of this era can only strengthen such illusions and prejudices. The social heterogeneity of the people in the conditions of the struggle of all the democratic forces of Russia against the tsarist autocracy and serf-owning remnants for political freedom was emphasized by V. I. Ivanov: "... the people fighting the autocracy consists of the bourgeoisie and the proletariat." It is known from the history of society that the social structure of the people who made the anti-feudal revolution in England, France, the Netherlands, Germany, and Italy was just as heterogeneous. It is also known that, having taken advantage of the gains of the people, the bourgeoisie, having come to power, betrays the people and itself becomes anti-people. But the fact that at a certain stage of historical development it was one of the constituent elements of the people, could not but be reflected in the nature of the folk culture of the corresponding era.
Recognition of the complex, constantly changing social structure of the people means not only that the class composition of the people is changing, but also that the relationships between classes and groups within the people are developing and changing. Of course, since the people are primarily the working and exploited masses, this determines the commonality of their class interests and views, the unity of their culture. But, recognizing the fundamental commonality of the people and seeing, first of all, the main contradiction between the exploited masses and the ruling class, as V.I. Ivanov, "demands that this word (people) does not cover up a lack of understanding of class antagonisms within the people."
Consequently, the culture and art of the people in a class society, "folk art" is class in nature, not only in the sense that it opposes the ideology of the ruling class as a whole, but also in that it is itself complex and sometimes contradictory in nature. its class and ideological content. Our approach to folklore, therefore, involves the study of the expression in it of both general people's ideals and aspirations, and not all coinciding interests and ideas of individual classes and groups that make up the people at different stages of the history of society, the study of reflection in folklore as contradictions between the whole people and the ruling class and possible contradictions “within the people”. Only such an approach is a condition for a truly scientific study of the history of folklore, the coverage of all its phenomena and understanding them, no matter how contradictory they may be, no matter how incompatible they may seem with the "ideal" ideas about folk art. Such an approach serves as a reliable guarantee both against the false romantic idealization of folklore and against the arbitrary exclusion of entire genres or works from the field of folklore, as happened more than once during the dominance of dogmatic concepts in folklore. It is important to be able to judge folklore on the basis of not speculative a priori ideas about folk art, but taking into account the real history of the masses and society.
Sections: Working with preschoolers
A moral, spiritually rich person... A lot of books, articles, debates are devoted to this topic.
Modern life is changing rapidly. We can barely keep up with the frantic rhythm of everyday affairs and problems. Unfortunately, morals and the style of relationships between people are changing. And, perhaps, the biggest problem of the present time is the decline of the spirituality and morality of the younger generation.
The most crucial period in the life of any person is preschool age. It is here that all the basic concepts and foundations for the further development of the personality are laid. For a child, it is important that he not only be protected and supported, but also shown where to go, what to strive for. One cannot but agree with V.A. Sukhomlinsky, when he said: “The one who led the child by the hand in childhood, what entered his mind and heart, depends to a decisive extent on what kind of person today's baby will become. Such an ideal-guideline for a child is always an adult: parents, teachers.
Everything starts small: from love and compassion for a bird, respect for a flower - to respect, caring attitude towards one's relatives, elders, and, ultimately, devotion to one's Motherland.
Each nation has its own cultural traditions that must be passed on and respected like a treasure from generation to generation.
The upbringing of children is easier to carry out through introducing them to folk sources.
Russian folklore is deeply patriotic. How important it is now in social instability.
It is through folklore that children get an idea of the main life values: family, work, respect for society, love for the small and large Motherland.
Children's folklore is a specific area of folk art that unites the world of children and the world of adults, including a whole system of poetic and musical-poetic genres of folklore.
In my pedagogical activity, I define the main task - to educate the personality of the child, to form his cultural needs.
More specifically, this problem can be formulated as follows:
To instill love for the native land, respect for the traditions of their people, for working people;
To cultivate respectful attitude in communication with other children and adults;
To teach to understand the role of the family, one's role in the family, to educate the future owner (hostess), husband (wife).
This can be more successfully done through introducing children to folk culture. Raising children on folk traditions, you can develop their national identity, respect for their people. Again, it is appropriate to recall the words of V.A. Sukhomlinsky that the main way to educate universal human qualities is to introduce the child to their national culture, which is based on vast life experience, wisdom, which were passed down from generation to generation, including in art form.
Folklore is the most fertile ground for the upbringing and development of spiritual and moral qualities in a child's personality.
A preschooler with great interest studies the world around him. But recently, teachers and parents have increasingly noted with concern the problems of communication among preschoolers. Children cannot maintain contact, do not know how to coordinate their actions with communication partners or adequately express sympathy, empathy, therefore they often conflict with them or withdraw into themselves. At the same time, sociability, the ability to communicate with other people is a necessary component of a person's self-realization. The formation of this ability is one of the main tasks of preparing him for life together.
Communication is carried out not only with the help of words, but also non-verbal means: a whole system of non-verbal signals, external bodily movements. This includes facial expressions, gestures, intonations of the voice, posture, etc. All of the above is the language of expressive movements. Many children today require special communication training. At preschool age, this is very successfully carried out through the game - the main institution for the education and development of the culture of a preschooler.
In my teaching activities, I base myself on the following principles:
1. Systematic and consistent.
2. Cultural conformity (upbringing is based on universal cultural values.
3. Integration (synthesis of various activities).
4. Natural conformity and availability of the material.
5. Visibility (allowances, attributes of folk life).
A.M. Gorky wrote: “A child under the age of ten demands fun, and his demands are biologically legitimate. He wants to play, he plays with everyone and learns the world around him first of all and most easily in the game, with the game. This demand for fun predetermined the playful beginning of all genres of children's folklore. If a particular genre is not associated with the child's play actions, then the game is played at the level of meaning, concept, word, sound. The famous Soviet psychologist B.M. Teplov says that the involvement of children (and not only gifted ones) in creative activity is "very useful for the general artistic development, it is quite natural for the child and fully meets his needs and abilities."
According to the rules of folk pedagogy, in order to bring up a physically healthy, cheerful and inquisitive person, it is necessary to maintain joyful emotions in a child. The main purpose of small forms of folklore, which children of early age get acquainted with, is to prepare the child for the knowledge of the surrounding world in the process of play, which will soon become an indispensable school of physical and mental pedagogy, moral and aesthetic education.
The first acquaintance of children with folklore begins with small forms: nursery rhymes, jokes, pestles. With their help, we instill in children the skills of correct literate speech, emotionally colored (“Ladushki”, “Magpie”, “Hare”, etc.).
At an older age, in music classes, children get acquainted with jokes. A joke is a funny little story or funny expression that amuses children. They are accompanied by certain game actions, for example “Goat”:
- There is a horned goat
- For the little guys.
- Who does not eat porridge, does not drink milk,
- Togo will gore.
In middle preschool age, I begin to acquaint children with Russian folk songs. Children's songs are very diverse in content, musical structure and character of performance. Through some songs, children get acquainted with various life and natural phenomena (autumn, spring round dances), other songs carry fun, play and are more beloved by children, for example, “Grandma Yozhka”.
The song is a more complex folklore genre. The main purpose of the song is to instill love for beauty, to cultivate aesthetic taste. Modern physiologists and psychologists have unequivocally proved the beneficial effect of good music, and especially folk music, on the physical and mental state of a person, a child. We often perform folk songs with children in a round dance, playing with various movements. Having learned the song, we invite children to creatively improvise in movements - “as the soul asks”. Children are always happy to pick it up.
At the senior preschool age I introduce the genre of ditties. This genre is very popular with children. Through a ditty, children learn to understand a joke, humor. The performance is often accompanied by playing folk instruments: rattles, spoons, etc. Acquaintance with oral folk art is also carried out through a fairy tale, proverbs, sayings, riddles. Through a fairy tale, children learn the moral laws of the people, examples of the true behavior of a person. Through fabulous images, the child absorbs ideas about the beauty of the human soul. Through proverbs, children learn the collective opinion of the people about different aspects of life: “If you like to ride, love to carry sleds”, “Business is time, fun is an hour”. Riddles are very popular with children. They develop the thinking of preschool children, teach them to analyze various phenomena, objects from different areas of the surrounding reality. (Soft paws, and scratches in the paws. Cat).
Another important genre of folklore is the game. Children's play is one of the greatest achievements of the people. The games reflect national traits, the way of life of the people, their worldview, social life.
We must remember that folk games as a genre of oral, musical folk art are national wealth, and we must make them the property of our children. In a fun way, children get acquainted with the customs, life of the Russian people, work, respect for nature.
The child lives with feelings that emotionally colors his life. This is an important factor in the development of a child's aesthetic sense. In the game, his mind, feelings, ability to be creative are formed. The game develops the ability to moral and ethical assessments of oneself and others, aesthetic tastes, preferences.
We plan to hold folklore holidays according to the folk calendar. In autumn - "Kuzminki", "Sinichkin's holiday", "Cabbage gatherings", in winter - "Pancake week", in spring - "Meeting of birds", "Easter", "Red Hill". For example, the holiday “Meeting the Birds” is anticipated by a lot of work to get acquainted with the birds of the native land. At classes and holidays, we use folk instruments: whistles (ocarinas) of various shapes and sounds, with the help of whistles, children learn to imitate the singing of various birds: cuckoo, sparrow, nightingale, etc., rattles, spoons, etc.
All work with children on the study of musical folklore leads children to classes in a folklore circle. Children dress up in folk costumes, kokoshniks. No holiday is complete without games where children learn to communicate with each other. During the game, respect, reaction, patience, dexterity, resourcefulness develop. Through the game, children get acquainted with the life and customs of the Russian people (“Nikonorikha”, “Like our Dunya”, “Merry weaver”). Often, parents are directly involved in musical folklore holidays. So, we celebrate Mother's Day as a folklore holiday. Folklore classes are not limited to preschool institutions. Every year we take part in various competitions, festivals, where children win prizes.
Musical folklore is a unique phenomenon. Music, word and movement are inextricably linked in it. The combination of these elements is the great power of pedagogical influence. Folklore is unique in that it contributes to the development of the child's creativity, revealing the best qualities of his personality. Folk games should take place in a preschool institution. We must remember that folk games as a genre of oral, musical folk art are national wealth, and we must make them the property of our children. In a fun way, children get acquainted with the customs, life of the Russian people, work, respect for nature.
Bright, poetic, imbued with kindness and love for all living things, Russian folk songs and games help to sow such seeds in the child's soul, which in the future will sprout with the desire to create, not destroy; decorate, not make life on earth ugly. Singing combined with dance and play is a very exciting activity that allows not only to have fun and usefully spend time, but also to take the child into an extraordinary world of kindness, joy, and creativity.
As a result of our work, we see how children become kinder, more attentive to each other, which is also noted by parents.
Interest in children's folklore is growing every year. The study of the artistic features of individual genres is extremely necessary.
Children's folklore is a valuable means of educating a person who harmoniously combines spiritual wealth, moral purity and physical perfection.
The development of folk culture is not reduced to the sum of learned works, but involves the creation of an atmosphere in which these works can arise and exist, when folk wisdom penetrates deeply into the consciousness, habits of a person and becomes part of his life.
Folk art is a storehouse, an inexhaustible spring that brings all of us, and especially children, kindness, love, helps to form an interesting personality of a child - a citizen of Russia, a patriot.
Bibliography
- “I give my heart to children”, Sukhomlinsky V.A., publishing house “Radyanska school”, 1974.
- “Russian children's folklore”, M.N. Melnikov, “Rus.yaz. or T." - M.: Enlightenment, 1987.
- “Folk culture and traditions” Kosareva V.N., Volgograd, publishing house “Teacher”, 2011.
- “Moral and aesthetic education in kindergarten”, ed. Vetlugina N.A., Kazakova T.G., M., 1989.
- “Psychological issues of artistic education” No. 11, - “News of the APN of the RSFSR”, 1947.
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