The value of folklore in the life of the people. The current state of folklore
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Federal Agency for Railway Transport
Siberian State Transport University
Department of "Philosophy and Culturology"
Russian folklore: origin and place in Russian culture
abstract
In the discipline "Culturology"
Supervisor
Professor
Bystrova A.N.
__________
Developed
Student gr. D-112
King Ya.I.
__________
year 2012
Introduction
Our ancestors, unfamiliar with writing and books, were not divorced from previous generations. Ordinary Russian people, to whom they sang songs a long time ago, told fairy tales and came up with riddles, did not know how to not read or write. But their verbal creativity was not forgotten, not lost. It was carefully passed from mouth to mouth, from parents to children. Folklore appeared long before literature and was created on the basis of a living spoken language, which is impossible without speech intonations and gestures.
Folk songs, fairy tales, proverbs, riddles delight us with the simplicity of the word, infect us with their fun, excite us with the depth of thought.
Poetic and beautiful are our folk songs: soulful and tender lullabies with which women lull their children to sleep; funny, funny songs.
Proverbs and sayings of the Russian people are full of deep meaning.
Folk riddles are witty and varied: about nature, about the house, about people, about animals, about objects that surround a person, in a word, about everything that we see, hear, know.
The excellence in the use of visual means of language in folklore works is due to the creative work of hundreds of people.
The purpose of this work is to review and present the views of historians and culturologists on the origin and place of Russian folklore in Russian culture using the exampleritual musical and poetic folklore.
1. The concept of folklore
The word folklore literally translated from English means folk wisdom.
Folklore is poetry created by the people and existing among the masses, in which it reflects its labor activity, social and everyday way of life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is oral, verbal artistic creativity, which arose in the process of the formation of human speech. 1 .
M. Gorky said: "... The beginning of the art of the word is in folklore."Where did he say this, for what reason?In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the process of development of society, various types and forms of oral verbal creativity arose.Whose are these phrases? You didn't write them!
Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of circumstantial evidence: on the texts of later times, which retained the archaic features of content and poetic structure, and on ethnographic information about peoples that are at the pre-class stages of historical development. Where is the text from?
Only from the 18th century and later are authentic texts of folk poetry known. Very few records survive from the 17th century.
The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text are unknown, but also the social environment in which the fairy tale, epic, song, time and place of their composition was formed is unknown. The ideological intention of the author can only be judged by the surviving text, often written down many years later. An important circumstance that ensured the development of folk poetry in the past was, according to N. G. Chernyshevsky, the absence of "sharp differences in the mental life of the people."Where do these words come from? And why is Chernyshevsky not on the list of references?
“The mental and moral life,” he points out, “is the same for all members of such a people - therefore, the works of poetry generated by the excitement of such a life are equally close and understandable, equally sweet and related to all members of the people.”Where does he "indicate" and to whom exactly?In such historical conditions, works appeared that were created by "the whole people, as one moral person." Where is the quote from? Thanks to this, folk poetry permeates the collective principle. It is present in the appearance and perception by listeners of newly created works, in their subsequent existence and processing. Whose text is this?
Collectivity is manifested not only externally, but also internally - in the folk poetic system itself, in the nature of the generalization of reality, in images, etc. In the portrait characteristics of heroes, in certain situations and images of folklore works, there are few individual features that occupy such a prominent place in fiction. Whose text is this?
As a rule, at the time of creation, the work is experiencing a period of special popularity and creative flourishing. But there comes a time when it begins to distort, collapse and be forgotten. Whose text is this?
New times require new songs. The images of folk heroes express the best features of the Russian national character: the content of folklore works reflects the most typical circumstances of folk life. At the same time, pre-revolutionary folk poetry could not but reflect the historical limitations and contradictions of the peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having reached complete ideological and artistic completeness, the works often remained for a long time almost unchanged as a poetic heritage of the past, as a cultural wealth of enduring value. 2 Why is it just rewritten?
2. Specifics of folklore
Folklore has its own artistic laws. The oral form of creation, distribution and existence of works is the main feature that gives rise to the specifics of folklore, causes its difference from literature.
2.1. traditional
Folklore is mass creativity. Works of literature have an author, works of folklore are anonymous, their author is the people. In literature there are writers and readers, in folklore there are performers and listeners.
Oral works were created according to already known patterns, even including direct borrowings. The speech style used constant epithets, symbols, comparisons and other traditional poetic means. The works with a plot were characterized by a set of typical narrative elements, their usual compositional combination. In the images of folklore characters, the typical also prevailed over the individual. The tradition demanded an ideological orientation of the works: they taught goodness, contained the rules of human behavior in life. Whose text is this?
Common in folklore is the main thing. Storytellers (performers of fairy tales), songwriters (performers of songs), storytellers (performers of epics), wailers (performers of lamentations) sought, first of all, to convey to the listeners what corresponded to the tradition. The repeatability of the oral text allowed for its changes, and this allowed an individual talented person to express himself. There was a multiple creative act, co-creation, in which any representative of the people could be a participant. Whose text is this?
The development of folklore was promoted by the most talented people endowed with artistic memory and creative gift. They were well known and appreciated by those around them (remember the story of I. S. Turgenev "Singers").Who should remember? Probably, you are suggesting me to do this ... Thank you, I will do without such advice.
The oral artistic tradition was the common stock. Each person could choose for himself what he needed.Is this a market or a store?
In the summer of 1902, M. Gorky observed in Arzamas how two women - a maid and a cook - composed a song (the story "How the song was composed").
“It was in a quiet street of Arzamas, before evening, on a bench at the gate of the house in which I lived. The city was dozing in the hot silence of June weekdays. talking quietly with the maid<...>Suddenly Ustinya says smartly, but businesslike: "Come on, Mangutka, tell me..." - "What is it?" - "Let's put down the song ..." And, sighing noisily, Ustinya sings in a patter:
"Oh, yes, on a white day, in a clear sun,
Bright night, with a month ... "
Hesitantly groping for a melody, the maid sings timidly, in an undertone:
"I'm restless, young girl..."
And Ustinha confidently and very, touchingly brings the melody to the end:
"All the sadness of the heart toils ..."
She finished and immediately spoke cheerfully, a little boastfully: "So it began, the song! I'll teach those songs, my dear, how to twist a thread. Well..." she again deftly played with words and sounds:
“Oh, yes, no fierce blizzards in winter
Not in the spring streams are cheerful ... "
The maid, moving close to her, ... already bolder, in a thin trembling voice continues:
“They do not inform from their native side
Comforting news to the heart ... "
“That's it! Ustinha said, slapping her knee with her hand. - And I was younger - I composed songs better! Sometimes girlfriends pester: “Ustyusha, teach me a song!” Oh, and I’ll flood! .. Well, how will it be further? "I don't know," said the maid, opening her eyes, smiling.<...>"The lark sings over the fields.
The cornflowers-flowers have blossomed in the fields," Ustinya sings thoughtfully, folding her arms over her chest, looking at the sky, and the maid echoes smoothly and boldly: "I wish I could look at my native fields!" And Ustinya, skillfully maintaining a high, swaying voice, spreads velvet sincere words: "Would like to take a walk with a dear friend, through the forests!"
When they finish singing, they are silent for a long time ... then the woman says quietly, thoughtfully: "Did they put the song together badly? It's all good, after all"What are the rewritten pieces of Gorky's story doing here? This text is well known to me even without student essays. But what he is doing here is completely incomprehensible.
Not everything newly created was preserved in oral existence. Repeatedly repeated fairy tales, songs, epics, proverbs and other works passed "from mouth to mouth, from generation to generation." Along the way, they lost what bore the stamp of individuality, but at the same time revealed and deepened what could satisfy everyone. The new was born only on a traditional basis, while it had to not just copy the tradition, but supplement it. Whose text is this?
Folklore appeared in its regional modifications: the folklore of central Russia, the Russian North, the folklore of Siberia, the Don folklore, etc. etc. However, local specificity has always had a subordinate position in relation to the general Russian properties of folklore.
In folklore, a creative process constantly proceeded, which supported and developed the artistic tradition. Whose text is this?
With the advent of written literature, folklore entered into interaction with it. Gradually, the influence of literature on folklore increased more and more.
In the oral creativity of the people, its psychology (mentality, mentality) is embodied. Russian folklore is related to the folklore of the Slavic peoples. Whose text is this?
The national is part of the universal. Folklore contacts arose between peoples. Russian folklore interacted with the folklore of neighboring peoples - the Volga region, Siberia, Central Asia, the Baltic states, the Caucasus, and so on. Whose text is this?
2.2. Syncretism
The artistic principle won in folklore not immediately. In ancient society, the word merged with the beliefs and everyday needs of people, and its poetic meaning, if any, was not realized. Whose text is this?
Residual forms of this state were preserved in rituals, incantations and other genres of late folklore. For example, a round dance game is a complex of several artistic components: words, music, facial expressions, gesture, dance. All of them can exist only together, as elements of a whole - a round dance. Such a property is usually denoted by the word "syncretism" (from the Greek synkretismos - "connection").
As time went on, syncretism historically faded away. Various types of art have overcome the state of primitive indivisibility and stand out on their own. In folklore, their late compounds began to appear - synthesis 3 . Why does it exist here in a primitive form rewritten from someone else's work?
2.3. variability
The oral form of assimilation and transmission of works made them open to change. There were no two completely identical performances of the same piece, even when there was only one performer. Oral works had a mobile, variant nature,
Variant (from Latin variantis - "changing") - each single performance of a folk work, as well as its fixed text.
Since a folklore work existed in the form of multiple performances, it existed in the aggregate of its variants. Any variant was different from others, told or sung at different times, in different places, in different environments, by different performers or by one (repeatedly). Whose text is this?
Oral folk tradition sought to preserve, to protect from oblivion what was most valuable. The tradition kept the changes of the text within its boundaries. For variants of a folklore work, it is important what is common, repeated, and secondary, how they differ from one another.
Let us turn to the variants of the riddle about the sky and the stars. They were recorded in different provinces - Moscow, Arkhangelsk, Nizhny Novgorod, Novgorod, Pskov, Vologda, Samara, etc. (see ReaderWho should go and look at something in an anthology? To whom is this designation addressed?.
The artistic basis of the riddle is a metaphor: something has crumbled, and it cannot be collected. Metaphor is mobile. From the options, we learn what exactly could crumble. As it turns out, peas (peas), beads, a carpet, a ship, a cathedral crumbled. It is usually noted where this happened: at our gates, on matting, in all cities, in all suburbs, over mosses, over seas, on twelve sides. In one of the options, a narrative preamble appears, explaining the circumstances of what happened:
There was a girl from St. Petersburg,
Carried a jug of beads:
She scattered it<...>
Finally, those who cannot collect the scattered pieces are listed: the king, the queen, the red maiden, the white fish (the symbol of the bride girl), clerks (dumny clerks), priests, silver coins, princes, smart men, literate people, us fools. The mention of Serebreniki hints at a hidden comparison: money, coins scattered. The white fish speaks of interaction with wedding poetry. In one of the options, the impossibility of collecting the crumbling is emphasized paradoxically - with the help of the statement:
One God will gather
Will put in a box.
God resembles an economic peasant with a box, who does not suffer loss and disorder. Since only God can collect what has crumbled, it means that no one else can. In another version, tools are named (broom, shovel), which will not help in this situation. So, in the riddle of the sky and the stars, there are stable and variable elements. The function (disintegration) and its consequence (impossibility to assemble) are stable. All other elements are variable. Some of the variable elements are mandatory (what was scattered; the place where it was scattered; those who cannot collect what was scattered). Along with this, optional variable elements arose singly (under what circumstances did something fall apart, by what means it was impossible to assemble it).
Despite the strength and power of tradition, variation could still go quite far, express some new creative trend. Then a new version of the folklore work was born.
Version (from Latin versare - "modify") - a troupe of variants that give a qualitatively different interpretation of the work.
For example, among the variants of the riddle we have considered, there is the following:
Letter written
On blue velvet
And do not read this letter
No priests, no clerks,
Not smart men.
This is already a new version, since the stable element of the riddle (crumbled - not collected) has acquired a different look (written - not read).From which author these arguments and examples were stolen?
As you can see, the differences between the versions are deeper and more significant than the differences between the variants. Variants are grouped into versions according to the degree of closeness and range of differences,
Variation is a way of existence of the folklore tradition. The idea of an oral work can only be formed on the basis of taking into account as many of its variants as possible. They must be considered not in isolation, but in comparison with each other. Whose text is this?
There are no and cannot be "right" or "wrong" variants in the oral tradition - it is inherently mobile. Variants of both high and low artistic quality appear, expanded or compressed, etc. They are all important for understanding the history of folklore, processes of its development. Whose text is this?
When recording a folklore work, if it is for scientific purposes, certain requirements must be observed. The collector is obliged to accurately reproduce the text of the performer, and the recording made by him must have the so-called "passport" (indication - who, where, when and from whom recorded this version). Only in this case the variant of the work will find its place in space and time and will be useful for studying folklore. Whose text is this?
2.4. Improvisation
The variability of folklore could practically be realized thanks to improvisation.
Improvisation (from Latin improviso - "unforeseen, suddenly") - the creation of the text of a folk work, or its individual parts, in the process of performance.
Between acts of performance, a folklore work was kept in memory. Each time the text is voiced, it is as if born anew. The performer improvised. He relied on the knowledge of the poetic language of folklore, selected ready-made artistic components, and created their combinations. Without improvisation, the use of speech "blanks" and the use of oral poetic techniques would be impossible. Whose text is this?
Improvisation did not contradict tradition; on the contrary, it existed precisely because there were certain rules, an artistic canon.
The oral work obeyed the laws of its genre. The genre allowed for this or that mobility of the text, set the boundaries of fluctuation.
In different genres, improvisation manifested itself with greater or lesser force. There are genres focused on improvisation (lamentations, lullabies), and even those whose lyrics were one-off (fair cries of merchants). In contrast, there are genres designed for accurate memorization, therefore, as if not allowing improvisation (for example, conspiracies).
Improvisation carried a creative impulse, generated novelty. She expressed the dynamics of the folklore process 4 . Why is here, as I understand it, and everywhere proposed a primitive rewriting of other people's texts?
3
. Genres of folklore
Genres in folklore also differ in the way of performance (solo, choir, choir and soloist) and in various combinations of text with melody, intonation, movements (singing, singing and dancing, storytelling, acting out).
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. Whose text is this?
There are productive genres in folklore, in the depths of which new works can appear. Now these are ditties, sayings, city songs, anecdotes, many types of children's folklore. There are genres that are unproductive but continue to exist. So, new folk tales do not appear, but the old ones are still told. Many old songs are also sung. But the epics and historical songs in live performance almost do not sound. Whose text is this?
For thousands of years, folklore has been the only form of poetic creativity among all peoples. The folklore of each nation is unique, just like its history, customs, culture. So, epics, ditties are inherent only in Russian folklore, thoughts - in Ukrainian, etc. Some genres (not only historical songs) reflect the history of a given people. The composition and form of ritual songs are different, which can be dated to the periods of the agricultural, pastoral, hunting or fishing calendar; can enter into a variety of relationships with rituals Christian, Muslim, Buddhist or other religions. Whose text is this?
Folklore of late times is the most important source for studying the psychology, worldview, and aesthetics of a particular people.
4. Ritual folklore as the most massive genre of folklore
The most extensive area of folk musical creativity of Ancient Russia is ritual folklore, which testifies to the high artistic talent of the Russian people. The rite was a normative, strictly regulated religious act, subject to the canon that had developed over the centuries. He was born in the depths of the pagan picture of the world, the deification of the natural elements. The most ancient are calendar-ritual songs. Their content is connected with ideas about the cycle of nature, with the agricultural calendar. These songs reflect the various stages of life of peasant farmers.
They were part of the winter, spring, summer rites, which correspond to the turning points in the change of seasons. Performing the ritual, people believed that their spells would be heard by the mighty gods, the forces of the Sun, Water, Mother Earth and would send a good harvest, livestock offspring, a comfortable life.
One of the most ancient genres is round dance songs.. They danced round dances for almost the entire year - at Christmas time, at Maslenitsa, after Easter. Round dances-games and round dances-processions were common. Initially, round dance songs were part of agricultural rituals, but over the centuries they became independent, although the images of the work of the tiller were preserved in many of them:
And we just sowed, sowed!
Oh, Did Lado, sowed, sowed!
And we just trample, trample!
Oh, Did Lado, let's trample.
Dance songs that have survived to this day accompanied men's and women's dances. Men's personified strength and dexterity, women's - tenderness, plasticity, stateliness. For many centuries, the dance tunes “Oh, you, canopy, my canopy”, “Kamarinskaya”, “Lady”, “I’m in my garden”, etc., have retained their popularity.
On the eve of Christmas and Epiphany, round dances and dances were replaced by the singing of observant songs - the mysterious time of Christmas divination came. One of the oldest subservient songs is Khlebnaya Glory, which has attracted the attention of Russian composers more than once:
BUT we sing this song to bread, Glory!
Let's eat bread and pay honor to bread, Glory!
Over the centuries, the musical epic begins to replenish with new themes and images. Epics are born that tell about the struggle against the Horde, about traveling to distant countries, about the emergence of the Cossacks, and popular uprisings.
The people's memory has kept many beautiful ancient songs for centuries. AT XVIII century, during the formation of professional secular genres (opera, instrumental music), folk art for the first time becomes the subject of study and creative implementation. The enlightening attitude to folklore was vividly expressed by the remarkable humanist writer A.N. Radishchev in the heartfelt lines of his "Journey from St. Petersburg to Moscow": you will find the education of the soul of our people.” AT XIX in. The assessment of folklore as the “education of the soul” of the Russian people became the basis of the aesthetics of the composer school from Glinka to Rimsky-Korsakov, and the folk song itself became one of the sources for the formation of national musical thinking. 5
Conclusion
The role of folklore was especially strong during the period when mythopoetic consciousness predominated. With the advent of writing, many types of folklore developed in parallel with fiction, interacting with it, influencing it and other forms of artistic creativity and experiencing the opposite effect. Folk musical art originated long before the emergence of professional music of the Orthodox church. In the social life of ancient Russia, folklore played a much greater role than in subsequent times. The most extensive area of folk musical creativity of Ancient Russia is ritual folklore, which testifies to the high artistic talent of the Russian people. The rite was a normative, strictly regulated religious action, obeying the canon that had developed over the centuries. It was born in the depths of the pagan picture of the world, the deification of the natural elements.
In the traditional folk culture of Russians, there is no generalizing concept that corresponds in meaning to the Western European term "music". However, this word itself is used, but it most often denotes a musical instrument, moreover, it is mostly purchased, such as an accordion or a balalaika.
Dramatic games and performances at the beginning of the 20th century were an integral part of the festive folk life, whether it was village gatherings, religious schools, soldiers' and factory barracks or fair booths. In later times, this experience was enriched by borrowings from professional and popular literature and democratic theater.
The formation of the most famous folk plays took place in the era of social and cultural transformations in Russia at the end of the 18th century. From that time on, popular prints and pictures appeared and were widely distributed, which were for the people both a topical "newspaper" of information and sources of knowledge. Sellers of popular print books - ofen - penetrated into the most remote corners of Russia. Lubok pictures, sold since the 19th century at all fairs, were an obligatory decoration of a peasant's hut. At urban, and later rural fairs, carousels and booths were arranged, on the stage of which performances were played on fairy-tale and national historical themes, which gradually replaced the early translated plays.
The specifics of the genre each time determined, limited the choice of repertoire, artistic means and methods of performance. The peculiarity of urban spectacular folklore partly helps to understand the widespread use of folk comedians in performances. They literally permeate the verbal fabric, they also determine the external form and content of representations to a greater extent.
List of used literature
- Bakhtin M.M. Folk art and culture of the Middle Ages. M. : Yurayt 2001. - 326 p.
- Velichkina O.V. Music in the Russian folk wedding. M.: Eksmo 2003. - 219 p.
- Vertko K.A. Russian folk musical instruments..-M. : Unipress 2004. - 176 p.
- Gusev V.E Rites and ritual folklore.-M. :Phoenix 2003. -236
- Propp V.Ya Folklore.-M. : Yurayt 2000. -221 p..
1 Propp V.Ya Folklore.-M. : Yurayt 2000. –p.21
2 Propp V.Ya Folklore.-M. : Yurayt 2000. –p.43
3 Velichkina O.V. Music in the Russian folk wedding. M.: Eksmo 2003. - p.50
4 Velichkina O.V. Music in the Russian folk wedding. M.: Eksmo 2003. - p.69
5 Propp V.Ya Folklore.-M. : Yurayt 2000. -p.190.
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, 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 (tales, 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 the 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 mankind to progress. Many proverbs are motivated and reasoned calls for self-improvement.
In the "Literary Encyclopedia" the 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 live 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 tree”, 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 the 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 personality.
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 necessarily 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 folk theater (as well as folk 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. In Belarus, woodworking, pottery, weaving, painting, weaving and embroidery were the most developed.
In some 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 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 the 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, 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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folklore national tradition
Introduction
1. History of collecting and studying folk art
2. Collective and individual principles in folklore
3. Stability and changeability of folklore works
4. Problems of traditions in modern folklore
5. Preservation and development of folklore traditions
6. Classical folklore in modern life
Conclusion
Literature
Introduction
Folklore is an integral part of every nation, and it manifests itself both in oral-poetic form and in spiritual form. For many centuries, various folklore genres, rituals, customs, and beliefs have been created and passed down from generation to generation. Nowadays, it's getting harder and harder to find those people who would talk about everything about it; who remembered how their ancestors lived; what songs were sung, etc.
Modern folklore centers are engaged in activities aimed at the revival, preservation and development of Russian folklore, folk traditions, crafts and crafts, distribution and popularization of folk art.
In modern socio-cultural conditions, the realization of the potential of Russian traditional culture contributes to the positive dynamics of spiritual and moral development, which is manifested in the enrichment of value orientation, the growth of ethno-artistic interests and cognitive activity, the increase in the level of intellectual development, the development of artistic and creative abilities of children and adults.
The life of children is closely connected with the life of adults, but the child has his own vision of the world, determined by age-related psychological characteristics.
The judgment of the child, like his practical thinking, has a character, first of all, practically - sensual. The sensual nature of the child's organism is the first connection that connects him to the world.
Young children perceive all the diversity of the world differently than adults. At first, children's thought is associated only with specific images.
The features of the child's psyche determine the choice of poetic images, the entire composition of children's folklore, artistic creativity.
For many centuries, poetic works, passed down from one generation to another, gradually acquired content and form that most fully corresponded to the laws of children's aesthetics.
In children's creativity is the key to understanding adult psychology, children's artistic tastes, children's creative possibilities.
Folk art is a specific area that unites the world of children and the world of adults, including a whole system of poetic and musical-poetic, as well as artistic genres of folk art.
The development of vision, artistic vision is the main task of introducing people to folk art.
A child in the world of art must live in two intersecting spaces. One space is for children, with its games and children's creativity. Another world of adult art.
Samples of adult art are not always available for understanding. And the child must feel the gap that exists between children's and adult art. Over time, it develops the ability to respond to the emotional tone of adult works.
1 . Storygatheringandstudypopularartisticcreativity
At the beginning of the 19th century, thinking Russia was faced with the problem of the culture of the people, their spiritual wealth, the question of the social significance of people's life.
Many researchers turned to the folklore heritage of the people. A. Glagolev, who wrote about the beauty and innocence of rituals that reveal the simplicity and naivety of the Russian people, draws on the songs associated with the ritual of worshiping the sun and the cult of trees.
Children's fairy tales were singled out in a special group for the first time. In those years, many understood the pedagogical value of folk art.
Through the sieve of centuries, the people sifted their cultural heritage, leaving the most valuable in folk art, crafts, folklore, decorative and applied arts.
Folk art is an inexhaustible source of aesthetic, moral, emotional education.
Folk wisdom, contained in fairy tales, nursery rhymes, jokes, riddles, for many centuries brought up in children pride in the talent of the common people, interest in a well-aimed, expressive word, love for their native language.
2. Collectiveandindividualstartinfolklore
Unlike literature - the individual creativity of writers - folklore is a collective creativity. However, this does not mean that the individual beginning does not matter in it.
In certain genres and in certain historical periods, the individual principle manifests itself quite noticeably, but it is in peculiar connections with the collective principle.
Folklore arose in ancient times as a mass collective creativity. The early forms of folklore were distinguished by the fact that they were dominated by the collective composition and performance of works. The creative personality at that time still stood out little from the team.
Later, individual talented singers began to play an increasingly important role, who in all their work expressed the ideas and views of the clan or tribe, and then the people.
Even in the early forms of folklore, and naturally, even more so - in the later ones, individual creativity was organically combined with the collective and developed on its basis.
Collectivity in folklore is manifested both in the external forms of creativity, and in its inner essence, and in the process of creating works, and in their performance.
It is expressed in the fact that the creators and performers of works rely on general folklore experience and tradition and at the same time introduce new features and details into the work, adapting its plot, images and style to specific performance conditions.
Works can be created by a team (choir, group of people), and individuals - singers and storytellers.
If they meet the needs and tastes of the collective, the people, then they begin to exist in its environment, to be performed in the choir by individual singers.
The collectivity of folklore is expressed in the fact that individual folklore works are perceived as the common property of the people, they live for a long time, and are passed down from generation to generation.
But each performer can change the work according to his creative idea.
In various genres of folklore, the collective and individual beginnings in the creation and performance of works manifest themselves in different ways: if songs are usually performed by a choir, collectively, then epics and fairy tales are performed individually.
If the text of conspiracies is very stable, then the text of lamentations is very mobile, as a rule, it is largely improvised - it is created, as it were, anew on new material.
But this individual improvisation is carried out according to long-established schemes, on the basis of collectively developed means of artistic expression.
Chastushkas are usually works that are composed by persons known in the village. In them, the individual beginning is more manifested than in the works of other genres of folklore.
The individual beginning, as well as the collective one, takes place at all stages of the development of folklore.
It takes on diverse forms of expression and shows a tendency not to fade, but to intensify and activate in the process of the historical evolution of folklore.
3. Sustainabilityandvariabilityfolkloreworks
Tradition in folk art is expressed in the relative stability of the verbal text, melody, character of performance, colors, transmission of works, as a rule, without significant changes from generation to generation, preservation over the centuries of works with certain plots and characters, forms and expressive means.
Tradition, like the collectivity of creativity, is characteristic not only of verbal folklore. It is also inherent in other types of folk art - music, dance, carving, embroidery.
The tradition has its own socio-historical foundations and is conditioned by important life circumstances.
These terms and conditions are:
Firstly, folk art originated in the primitive communal system, when social forms of life, folk life and ideas were very stable, which determined the stability of folklore.
But, having taken shape at this time, the tradition was supported by a certain stability of life forms in later periods of history. In connection with changes in the very nature of life, the tradition was gradually weakened.
Secondly, the most important features of reality are deeply reflected in the works of folk art, the important objective qualities of man and nature are imprinted.
This can be said not only about proverbs, the generalizations of which have been preserved for centuries and will be preserved for a long time to come, but also about songs that characterize the spiritual world of a person, his general human properties, thoughts, feelings and experiences.
Thirdly, folk art embodied the principles of folk aesthetics, reflected folk artistic tastes that had been developed over the centuries. They are valuable because they embody the objective laws of beauty.
Fourthly, the works of folklore themselves are significant artistic achievements. They satisfy the people's ideological and aesthetic needs and serve as an important part of the spiritual culture of the people for a long time.
The conditions listed above serve as the basis for the traditional nature of folk art, the great stability of folk works.
4. Problemstraditionsincontemporaryfolklore
Among the many problems of modern folklore, the problems of traditions are perhaps the most significant and complex. They cause perennial disputes, sometimes turning into organized discussions. However, even today this topic cannot be considered exhausted; rather, on the contrary, the further the development of folklore goes, the more relevant it becomes. Moreover, the relevance is not only theoretical, but even more practical, related to the everyday life of modern folk arts and crafts.
Traditionalism is generally recognized as one of the specific features of folk art. There is an extensive literature about traditions in folklore, folk crafts. But it usually does not contain a definition of the very concept of "tradition", different researchers put different content into it. Some scientists (V. S. Voronov, V. M. Vasilenko, T. M. Razina) generally understand the traditional nature of folk art as the antiquity of its images, forms and techniques, the stability of their preservation and continuity in development.
Such a point of view emphasizes one side of the tradition - the connection of folk art with the past, its roots, ancient sources, without which it is generally impossible to understand this phenomenon of human culture...
Absolutizing one side of the tradition, some scholars see only the past in the traditions of folk art and conclude that this art is inert, backward, and lacks links with the present. M. A. Ilyin is an adherent of such views. Analysis and criticism of his point of view can be the subject of a special article. In this regard, we confine ourselves to the remark that M. A. Ilyin understands tradition as its private moments: plots, motives, techniques, forms, coloring of works of specific folk crafts, outside the organic whole into which all these particulars merge at a certain time and in each of the crafts, creating original features of local folk art.
Such a narrow understanding of traditions could not but lead to their rejection as a path along which you can go "forward with your head turned back." Based on an incorrect understanding of the development of art in general only as progressive, evolutionary, mixing such different concepts as folk and folk art, its nationality, Ilyin comes to the wrong conclusion about the conservatism of the art of folk crafts, marking time, about the only possible path for them - absorption art industry, leveling in a single so-called "modern style" of decorative and applied arts.
Such views aroused justified criticism twenty years ago. It occupies many pages in the works of A. B. Saltykov, an outstanding theorist of Soviet applied arts, who made a great contribution to the study of traditions6. Saltykov understood traditions as a dialectical phenomenon, connected not only with the past, but with the present and future. He constantly emphasized the direct connection of traditions with modern Soviet art, analyzed the movement and development of traditions, which, in his opinion, are not only formal signs of the art of this craft and not in their mechanical sum, but in the integrity of the figurative artistic system of craft and its historical development. .
Saltykov's thoughts on the need for a historical approach to the concept of style in folk art are topical. "... Any style," he wrote, "is an expression of the spiritual state of the people of its time ... the people do not stop in their development ... they are constantly changing ... and these changes are inevitably associated with changes in the artistic style."
A. B. Saltykov brilliantly confirmed the correctness of his theoretical positions in matters of traditions on the example of practical work with the masters of Gzhel.
Today, the ideas and thoughts of A. B. Saltykov are repeated and developed in a number of articles by M. A. Nekrasova. She rightly believes that tradition is deeply meaningful, that it is a deeply internal phenomenon. The basis of tradition is the correct attitude to the national heritage. Heritage is all the art of the past. Everything that has enduring value passes into tradition. This is the experience of the people, something that is able to live in a new way in modern times.
In the broad sense of the word, there are no phenomena outside of tradition. Nothing is born in an empty place, without mastering the experience of the past. Traditions are a kind of engine for the progress of culture, those organic features of different aspects of life that are selected, preserved and developed by generations as the best, typical, familiar. But traditions are not something given once and for all, frozen, motionless, not a synonym for the past or similar to the past. The dialectical unity of the past, present and potential future, embedded in tradition, is beautifully expressed in the definition given by the outstanding Russian composer I. F. Stravinsky. And although he was based on the analysis of musical works, he expressed the essence of the concept of tradition in its broad and objective content.
There are no traditions in general, but there are traditions of a specific sphere of human activity among a specific people, in a specific place and in a specific era. Meanwhile, the life and development of tradition, the concrete historical approach to its analysis are often ignored and not taken into account.
Tradition is a multi-layered concept. Traditions permeate all phenomena of life, everyday life, production, economy, culture, art, in each area having its own specifics in content and manifestation. There are significant differences in the manifestation of traditions in art in general and in folk art in particular.
Traditions of collective creativity live in folk art. These traditions have evolved over the centuries and polished by many generations of people. The blood connection of folk art with the life, work, life of the people led to the historical continuity of the traditions of folk culture, the formation of not only nationwide, national traditions, but also their local local manifestations in peasant creativity and folk crafts. The traditions of peasant art, due to the well-known conservatism of the everyday way of life, a special commitment to patriarchal antiquity, developed slowly, evolutionarily. Many of these traditions have gone into the past along with the environment and living conditions that gave rise to them, for example, the traditions of ancient Slavic mythology, which gave life to the images of many types of peasant art and a whole layer of folk embroidery ornament.
Many factors influenced the creation of the style and the formation of the traditions of the art of craft, some more indirectly and, as it were, elusive in external manifestation, others - clearly and directly affecting the nature of art and the structure of the artistic image.
A concrete historical approach to the analysis of all the factors involved in the creation and development of folk craft shows that their role at different stages of the development of the craft and at different times could be ambiguous.
5. Preservationanddevelopmentfolkloretraditions
The transfer of craft skills from generation to generation, the creative process of making products under the guidance of adults contributed to the consolidation of positive emotions, the desire to learn and master the specifics of craftsmanship, and the formation of initial ideas about folk art.
The concept of heritage, tradition in teaching art has always been and still is important. The most valuable is the product of labor, which accumulated not only individual creativity, but also the hereditary experience of previous generations, assimilated in the process of practical actions.
The most stable and viable part of culture is tradition, opposed to innovations, on the one hand, and enriched by them, on the other. In the interaction of tradition and innovation, multiple traditions do not die out, but gradually change, taking the form of innovations. Traditional culture is a sphere of concentration of a certain collective experience of the past and the birth of innovations that ensure the adaptation of traditional cultural norms to the changing conditions of the existence of an ethnic group. Thanks to innovative
elements undergo changes in tradition.
Traditional folk culture is not only the basis for the spiritual unity of the people, but also the cultural and educational institution of the modern personality. It retains a unique property in the conditions of modern life. In traditional culture there are no creators and consumers.
The creative potential inherent in traditional culture is used in modern society in working with children and youth. It is traditional culture that can become a means of adapting a person to the contradictory life of modern society, where it is long overdue to create a leisure space for the transfer of socio-cultural experience built on the principles of the traditional (meeting place of generations). This is not about creating, for example, new folklore groups focused on the stage embodiment of folklore, but about creating inter-age associations, where folklore becomes a means of communication and self-realization, where a folklore environment is created for joint celebrations. Despite the fact that the traditional forms of culture in the modern world are deeply transformed, nevertheless, folk art remains the inspirer of modern quests in all areas of culture.
Within the framework of the traditional culture of the Russian people as a spiritual integrity, a number of peculiar regional traditions are being formed, the existence of which draws the attention of collectors and researchers.
The study and preservation of regional traditions, the search for new ways of transmitting traditional culture in modern society is relevant in the field of culture and education.
Within the framework of the projects, seminars on the problems of studying folklore in schools, international scientific and practical conferences are organized annually and in stages.
In the process of project implementation, a systematic description of the existence of verbal and musical genres is used.
As a result of the research, a description of the active genres of folklore is carried out, the active genre composition of verbal folklore is singled out in terms of its adaptation to the age characteristics of students and educational standards.
The study of regional folklore involves continuous comparative analysis, which helps to develop not only figurative, but also rational thinking. Compliance with the principles will make it possible to realize the unity of education, upbringing and development in the development of folk culture in its regional manifestations.
Acquaintance with the traditional culture of peoples living together in the same territory fosters respect for other cultural traditions. With the help of folklore classes, a folklore-ethnographic environment is created, there is a continuity of cultural traditions in holding folk mass holidays together with adults. An understanding is being brought up that the surrounding people are carriers of the folklore tradition in a different volume of its content.
Comparing the traditional and modern models of folk holidays, one can notice the desacralization and transformation of holidays into a mass spectacle, the form is gradually changing due to the replacement of attributive components of the rite with modern ones; the content changes, a new poetic and mythological background of the rite, a new symbolism, is born; the form, the content, and the temporal canons are simultaneously transformed, which, in fact, leads to the birth of a new phenomenon. The modern model of traditional calendar and family holidays becomes secondary.
For various centers, it remains important to comprehend and pass on traditional folk culture from generation to generation; development of youth folklore movement in the region (in all directions); combining the efforts of ethnographers, philologists, musicians; attracting interest to the traditional culture of professionals and lovers of folk art.
The accumulated and systematized folklore and ethnographic materials, observations and generalizations concerning the patterns of traditional culture have not only narrow local but also general scientific significance.
With the support of the Government, a comprehensive program is being implemented aimed at promoting traditional culture.
Festivals remain an integral part of the activities for the preservation, study and further development of folklore traditions.
The “scientific component” is gradually increasing, so within the framework of the Days of Slavic Literature and Culture, scientific and practical conferences are held annually.
In the context of globalization, traditional culture is often attacked as conservative and inconsistent with the spirit of the times, but it is in it that the basic values of the people are concentrated. The traditional experience of generations, understanding the essence of traditions, and therefore cultural norms, behavioral stereotypes, knowledge and experience, customs and habits, upbringing, religious beliefs are needed today for transformations in both public and private life. And their correct interpretation, correct understanding gives us the way and hopes in the arrangement of modern society.
The problem of studying the factors of preserving traditional culture is one of the complex ones and is the subject of research in cultural studies, sociology, ethnography, linguistics, folklore and other sciences.
6. Classicalfolkloreincontemporarylife
In modern life, people continue to exist due to their simplicity, digestibility, ability to undergo various transformations without compromising the content - some genres of classical folklore - fairy tales, proverbs, sayings, proverbs, signs.
Some of them, for example, folk tales, children's lullabies, fulfill their former role - educational, educational, entertaining. True, if some lullabies, for example, or proverbs are still transmitted orally, then fairy tales, as a rule, are read to children from books.
Other genres of folklore, such as folk natural signs, have lost their original functions. In modern conditions, folk weather predictions often do not work, because the natural environment has changed, the ecological balance has been disturbed. In addition, the forms of assimilation and transmission of folk signs have changed. A modern urban person gets to know them, for example, by reading a tear-off calendar or listening to radio programs focused on reminding of traditional folk culture. Functioning and being transmitted in this way, folk signs acquire a different cultural meaning. In modern everyday culture, folk signs are moving into the sphere not even of memory, but rather of reminders, into the sphere of curiosity. They are retold to acquaintances, neighbors, but they are also very quickly forgotten - until the next reminder.
And in the countryside, traditional folk signs have largely lost their vital necessity, the demand for the successful conduct of agricultural work. Here, on the one hand, the need for scientific weather forecasts is obvious - in connection with climate change, on the other hand, new signs based on personal experience and observations are being developed. As a result, the sign, as one of the forms of folk knowledge, has been preserved, but its content and place in the everyday culture of people have changed significantly.
Traditional signs and folk superstitions (the belief that some phenomena and events are a manifestation of supernatural forces or serve as an omen of the future) have come down to our time and quite rightfully exist in the ordinary mass consciousness. It is difficult to find a person who, at least once in his life, did not say out loud that spilling salt is a quarrel, hiccups, which means someone remembers, meeting a woman with an empty bucket is unfortunately, and the dishes are beating, fortunately. Signs are a fairly vivid example of the existence of elements of traditional ethnic culture in modern culture. Everyday, repetitive behavioral situation and the ordinary commentary that accompanies them is a sign that is easily and effortlessly transmitted “by inheritance” from generation to generation.
Conclusion
At present, the enormous role of folk music in the art of each country has long been recognized. Folk creativity found its most vivid and complete expression not in purely instrumental music, but in the combination of melody with the word - in the song. The song, having originated in the most primitive form many millennia ago, has steadily developed and evolved in close connection with the development of the culture of the people themselves, their way of life, language, thinking, which are reflected both in the lyrics and in the tunes. The collection of folk songs is the main result of the thousand-year history of most peoples.
It is necessary to carefully preserve the property, and take care of its survival. Preserve the treasures of folk musical culture, make them available to the broad masses of the people, professional and amateur performing groups, provide additional material for the work of composers, as well as for students and students of special educational institutions.
Folk art helps not only ethnographers to better understand the life, culture, way of life of our ancestors, but also children who can only imagine it.
Love, respect, pride in folk art is gradually formed under the influence of the surrounding atmosphere.
This complex feeling arises and develops in the process of accumulating knowledge and ideas about the nature of the native land, about the work and relationships of people. In an accessible form, it is necessary to talk about the origins of folk art.
Through the acquaintance and education of folk art, children get acquainted with the work of adults, learn to respect it, learn the simplest skills and abilities; Interest, independence, ability to work are brought up.
The use of various materials, manuals, toys, paintings, works of folk art helps to perceive and reproduce the most striking features of the artistic image.
Initiation to folk art and its influence is felt in cases where children depict the world that is known to them from folk art.
To fill free time with interesting and meaningful work, it is necessary to develop a desire for beauty, to cultivate respect for folk traditions and cultural values.
Literature
1. Bogatyrev P.G., Gusev V.E., Kolesnitskaya I.M. and others. "Russian Folk Art", Moscow, 2000
2. Gusev V.E. aesthetics of folklore. L., 1999
3. Zhukovskaya R.I. "Native land", Moscow 1999
4. Kravtsov N.I., Lazutin S.G. "Russian oral folk art", Moscow 2003
5. Lazutin S.G. "Poetics of Russian Folklore", Moscow 2005
6. Putilov B.N. "Folklore and Popular Culture". - St. Petersburg, 2003
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CONTENT
INTRODUCTION
1. Oral folk art kik art of the folk word
2. Statements of great writers and educators about the role of folklore in human life
3. Classification of folklore
4. Classification of folklore by volume: small forms
5. Large shapes
6. Conclusion
7. References
APPS
INTRODUCTION
It is generally accepted that, through oral folk art, a child not only masters his native language, but also, mastering its beauty, conciseness, joins the culture of his people, receives the first ideas about it.
Folklore is a fertile and irreplaceable source of moral education for children, since it reflects all real life with evil and good, happiness and sorrow. He opens and explains to the child the life of society and nature, the world of human feelings and relationships. Promotes the development of thinking and imagination of the child, enriches his emotions, gives excellent examples of the literary language.
In order to achieve the educational effect as much as possible with the help of oral folk art, it is important not only that it be represented by a variety of genres, but also be included as much as possible in all the life processes of the child. For example, familiarity with lullabies will help children grow up to be balanced and benevolent people.
It is very important for a child to learn the essence of moral concepts and human values from childhood. In the process of development, the child is formed as a person, acquires his own character traits, features that affect a person’s behavior in life, the child develops his own worldview.
The most important task facing our society at the present time is its spiritual, moral revival, which cannot be carried out without assimilating the cultural and historical experience of the people, created over the centuries by a huge number of generations and enshrined in works of folk art. Even K.D.Ushinsky, putting forward the principle of nationality, said that "language is the most living, most abundant and strong bond that connects the obsolete, living and future generations of the people into one great, historically living whole" .
At an early age, it is very important to accelerate the “birth” of the first conscious words in a child. Small genres of folklore will help to increase the vocabulary, in which his attention is drawn to objects, animals, people.
With the help of small folklore, it is possible to solve almost all the problems of the methodology for the development of speech, and along with the main methods and techniques of speech development of younger students, this material can and should be used.
The significance of folklore is very high during the adaptation period. A well-chosen, expressively told nursery rhyme helps to establish contact and evoke positive emotions.
1. Oral folk art as the art of the folk word.
It is generally accepted that folklore is oral folk art, folk art of the word, it is also called abroad - folk knowledge or folk wisdom. Folklore is called verbal art, which includes proverbs, ditties, fairy tales, legends, myths, tongue twisters, riddles, heroic epics, epics, legends, etc.
It is known that the works of oral folk art arose in ancient times, but even today we use them, often without even suspecting and not realizing it (we sing ditties, tell jokes, read fairy tales, make riddles, say sayings, sing folk songs, repeat tongue twisters and much more).
Folk tongue twisters, songs, riddles, fairy tales, proverbs are used in their speech by adults and children, growing youth and people of senile age. But few people clearly imagine how oral-poetic folk art is born, lives and exists, and even less people are aware of the value of folklore and are familiar with its history.
No one, unfortunately, will recognize the names of those distant creators who composed wonderful fairy tales, amusing riddles, folk songs, moralizing proverbs and sayings that have been living for many centuries. The only thing we can say with certainty is that the author of folklore is an ever-living and developing poet, whose name is people. It is to the people that we owe the preservation and improvement of all the folk treasures of poetry.
So, living outside of time, passing from ancestors to descendants, from one storyteller, poet, singer to another, folklore works are enriched with features of the modern worldview, new features of everyday life. In our time, already updated ancient fairy tales continue to live, and along with them there are (and always have been) new songs, anecdotes, proverbs, riddles, etc.
2. Statements of great writers about the role of folklore in human life...
Conclusion
Living outside of time, passing from ancestors to descendants, from one storyteller, poet, singer to another, folklore works are enriched with features of the modern worldview, new features of everyday life. In our time, already updated ancient fairy tales continue to live, and along with them there are (and always have been) new songs, anecdotes, stories, charms, proverbs, riddles, etc.
The living connection between literature and folklore is confirmed by the work of the best writers of all peoples. But no matter how palpable the connection between the works of writers and folk poetry in the conditions of a class society, collective and individual creativity is always distinguished by the method of creating works of art.
The presented classification is the most common among researchers. However, it should be understood that the types of Russian folklore complement each other, and sometimes do not fit into the generally accepted classification. Therefore, when studying the issue, a simplified version is most often used, where only 2 groups of genres are distinguished - ritual and non-ritual folklore.
We see that most scientists classify proverbs, sayings, riddles, and tongue twisters as minor genres of folklore, but otherwise their opinions differ.
It can be understood that, unlike small forms, the following large works belong to large forms of folklore: fairy tales, legends, epics, historical songs, lyrical songs, ballads, ditties.
BIBLIOGRAPHY
1. Anikin V.P. Textbook for universities. - 2nd ed., corrected. and add. - M .: Higher School, 2004. - 735 p.
2. Zueva T.V., Kirdan B.P. Russian folklore. Textbook for higher educational institutions - M.: Flinta: Science, 2002. - 400 p.
3. Zueva T.V., Kirdan B.P. Russian folklore, 2003, pp.141-143
4. Efremov A.L. Formation of personality in the conditions of an amateur team. - St. Petersburg, 2004. - 107 p.
5. Karpukhin I.E. Oral folk art, 2005,
6. Usova A.P. Russian folk art in kindergarten. -M.: Enlightenment, 1972. -78s.
7. Ushinsky K.D. Fav. ped. cit.: In 2 vols. - M., 1974. - T. 1. - S. 166
8. Ushinsky, K.D. Human education / K.D. Ushinsky; comp. S.F. Egorov. - M.: Karapuz, 2000. - 255 p.
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 young children get acquainted with, is to prepare the child for the knowledge of the world around him 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 the 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. In 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 seeds in the child's soul that will later grow 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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