In 5th grade we studied children's folklore. I became interested in lullabies and wrote a research paper about them. Another genre of folklore that attracted my attention is counting rhymes. In the modern world, children know few rhymes, and the children's subculture is becoming impoverished. That is why I wanted to know the history of counting rhymes, their development and the reasons why counting rhymes are gradually fading into the background in children's folklore.
My main goal was to compare the role of counting rhymes in different times and in our days. I saw my tasks as follows:
1. study scientific literature on this topic;
2. collect rhymes (in scientific literature, in the play activities of modern schoolchildren);
3. analyze the collected material;
4. draw conclusions.
The original hypothesis was that children these days know few counting rhymes, and most of them are meaningless. I was able to find an explanation for this in the scientific literature. During the work, I became convinced that the hypothesis was correct and that a large number of educational and educational rhymes created by children's authors were not known to children and were not used in games.
In my work I used the following methods:
1. analysis, synthesis of the collected material;
2. observation of games of primary school students;
3. survey of respondents.
A total of 118 people were interviewed, of which 20 were young children, 58 people aged 7-8 years, 25 people aged 9-10 years, 10 people aged 13-15 years, 5 older people.
19 people remember 3 or more counting rhymes, 27 people remember 2 counting rhymes, 72 people remember 1 counting rhyme.
But, unfortunately, the overwhelming majority (67% of respondents) name first of all the rhyme that is far from being of the most moral nature (“. I took a knife out of my pocket. I will cut, I will beat.”). Children have heard and read original rhymes, but they hardly use them in games because they don’t remember them by heart (only 0.8% of respondents named them). 20% of respondents know rhymes that are interesting in a cognitive or moral sense, while 74% know those that are meaningless or not morally interesting. Only 19 people had counting rhymes with humor. character (. leniya, the overwhelming majority (67% of respondents) name first of all the counting rhyme as far from being the most moral
2. The role of folklore in human life.
The magical kingdom of folk art is immense. It has been created for centuries. There are many varieties in oral folk poetry (or folklore, as international science calls this poetry). Translated into Russian, the English word “folklore” means “folk wisdom”, “folk art” - everything that the spiritual culture of the working people has created over the centuries of its historical life. If we read and think deeply about our Russian folklore, we will see that it really reflected a lot: our native history, the play of folk imagination, cheerful laughter, and deep folk thoughts about human life. People thought about how to improve their lives, how to fight for a happy life, what a good person should be, and what character traits should be condemned and ridiculed.
Numerous varieties of Russian folklore - epics, fairy tales, proverbs, calendar refrains, riddles - all this arose and was repeated, passing from mouth to mouth, from generation to generation, from father to son, from grandmothers to granddaughters. Often, performers added something of their own to a favorite text, slightly changing individual images, details and expressions, quietly honing and improving the song or fairy tale created before them.
3. Children's folklore. Its genres, moral influence.
Children's folklore is a vast area of oral folk art. This is a whole world - bright, joyful, filled with vitality and beauty. Children look with interest at the lives of adults and willingly borrow their experience, but recolor what they have acquired. Children's thoughts are connected with specific images - this is the key to the secrets of children's artistic creativity.
Folklore for children, created by adults, includes lullabies, pestushki, nursery rhymes, jokes, and fairy tales. This area of folk art is one of the means of folk pedagogy.
Both children and adults are also well aware of counting rhymes, teasers, tongue twisters and other genres of children's folklore, which are generally considered empty fun. In fact, without these cheerful and funny poems, without the verbal games that they contain, a child will never master his native language perfectly, will never become its worthy master, capable of expressing any thoughts, feelings and experiences.
Counting tables, draws, songs and sentences included in the games together make up gaming folklore.
Counting books - short rhymes used to determine the leader or distribute roles in a game - are the most common genre of children's folklore.
Telling or listening to rhymes gives children great pleasure. Not every child can become a good “counter.” Firstly, he must have a tenacious memory, artistry, and secondly, he must certainly be honest.
The fact is that counting rhymes are a way of implementing objective justice that has been invented for children since ancient times. It is as if fate itself, and not the authority of an adult (or the ringleader of a child), controls the distribution of roles. And if this is so, then winning the game with happiness and luck depends on the player himself. The child in the game must be resourceful, smart, dexterous, kind and even noble. All these qualities in a child’s consciousness, soul, and character are developed by the rhyme.
4. The main artistic features of counting rhymes.
Counting rhymes have two main features. Firstly, most counting rhymes are based on counting, and secondly, the counting rhymes amaze with a pile of meaningless words and consonances. Why did people need the distorted form of words and what was hidden under the habit of using a mysterious counting?
People have a whole group of ancient concepts and ideas associated with counting. It can be assumed that in the old days, when entrusting someone with a common task, people showed extraordinary caution in numbers. Will the person completing the assignment be happy or unhappy? Before hunting or other fishing, the score decided a lot. A person with an unlucky number could, according to people’s ideas, ruin the whole business. This is the purpose of the ancient recount. This function has been preserved in residual form in children's games.
The simplest form of counting rhymes and, apparently, the most ancient one, can be considered “naked” counting. Because of the ban on counting, people had to use conventional forms when counting. Thus, residents of the Irkutsk province were forbidden to count killed game, otherwise there would be no luck in the future; Russians living in Transbaikalia were forbidden to count geese during the flight. The prohibition of counting was a great inconvenience, and people came up with the so-called “negative” counting: a negative particle was added to each numeral: not once, not twice, etc. It turned out that there was no counting. This is the purpose of the distorted form of counting. People also hid the drawing of lots - the recount necessary when distributing the roles of participants in the fishery. Recount - the prototype of the newest forms of counting rhymes - was given a conventional verbal form that was understandable to the people of this group. This is the origin of “abstruse” counting, an example of which is the children’s counting rhyme.
Over time, breaking away from prohibitions and belief in numbers, the counting counter began to develop in its own special way. New, purely artistic elements were introduced into it. Distorted words began to be invented in consonance with the old ones, without any connection with the conventional allegorical speech of antiquity. The formation of new words in counting rhymes lost its former meaning and often took the form of pure nonsense.
Nonsense could not live long in folklore, and meaningful scattered phrases and individual words began to penetrate into the rhyme. Some kind of content was woven from the words, and soon “plot” provisions appeared.
One of the main features of the counting rhymes is a clear rhythm, the ability to shout all the words separately. For children aged 5-6 years, this gives special pleasure due to the constant demand of adults to “not make noise.” Hearing the rhythmic pattern of a counting rhyme and obeying it is not an easy skill. It is acquired by children only through play. The more exciting the game, the more desirable it is for the child to be chosen, the more keenly the children listen to the rhythm of the counting rhyme.
This whole funny poem is built on onomatopoeia - another feature of rhymes. Remember the rhyme “Aty-baty, the soldiers were coming.” Its clear rhythm resembles the step of a soldier's company.
5. Classification according to content, artistic features, moral meaning.
The most common type of folk counting is intended directly for calculating the players. If you need to determine who is driving when playing hide and seek or tag, then they count like this.
A large group of counting rhymes indicates those who will participate in the game. The last one left after the calculation drives.
This type of counting rhyme includes those where there is no direct verbal indication of the driver or a way out of the calculation. It is replaced by the last expressive word. In this group, meaningless rhymes with an absurd plot and sound combination stand out.
The next group of counting rhymes - gaming - is intended for both calculation and play. It is these counting rhymes that end with questions, tasks, instructions and other requirements.
The requirements of the counting rhyme are varied and rarely repeated. For example, in the rhyme “They sat on the golden porch. ” you need to correctly answer the question “Who are you?”
To win, you need to remember exactly where the calculation began, quickly count your place in the circle and shout out the desired word or number. Then the re-calculation will have to be on you, and not on someone else.
There are counting rhymes where the winner, by calculation, gives his right to leave the circle to a friend, and he remains for new tests.
I would like to pay special attention to the author’s literary rhymes. They are intended mostly for reading, not calculation. They offer both a child and an adult an intellectual game - to recognize its folk prototype in a rhyme, to grasp the features of similarity and difference, the irony of the author in moments of attraction and repulsion from a folklore model.
The author's counting rhyme is always action-packed, dynamic, full of bright pictures replacing each other, and thus resembles a nursery rhyme. The poet’s task is to captivate the child with the action so much that he wants to “finish” the line himself, to predict what will happen next. And the master’s talent is to make the child make mistakes and rejoice at his mistake, because the poet came up with something more interesting, witty, and fun.
What groups are counting rhymes divided into in scientific literature?
In the monograph by G. S. Vinogradov “Russian children's folklore. Game Preludes”, a classification of children's folklore, in particular counting rhymes, based on vocabulary, was undertaken. Vinogradov classified verses containing counting words (“one, two, three, four, we were standing in the apartment”), “abstruse”, distorted counting words (“primary-druginchiki-druginchiki, little pigeons were flying”) and equivalents of numerals (“the first ones-druginchiki-druginchiki-druginchiki-flying-lilyubinchiki”) and equivalents of numerals (“one, two, three, four, we stood in the apartment”) as counting numbers. anzy, dwanza, three, kalynza"). Vinogradov classified counting rhymes as abstruse, consisting entirely or partially of meaningless words; to substitute counting rhymes - poems that do not contain either abstruse or counting words.
This classification remains relevant to this day.
The material we have collected allows us to make additions to this classification.
In terms of content, we found the following groups:
1. Counting books with a moral meaning, educational. They teach truthfulness, kindness, caution and obedience.
2. Educational rhymes that broaden your horizons. From them, the child gains knowledge about the world around him, about its inhabitants, nature, and phenomena.
3. Unfortunately, we also had to deal with counting rhymes that contain indecent language.
In total, we collected 72 rhymes, of which 9% are rhymes with a moral meaning, 26.5% are educational rhymes, 19% are meaningless, 1.5% are immoral, 31% are rhymes with meaning but do not teach anything, 7% - counting rhymes with a humorous form, 6% - with a poetic form.
6. Conclusions on the topic.
When we started work, we assumed that a typical modern child knows fewer rhymes than people of the older generation, since children play less in groups without adult supervision. Scientists say that today we can state the fact that the children's subculture is becoming impoverished.
But the data we received literally surprised us. A total of 118 people were interviewed, of which 20 were young children, 58 people aged 7-8 years, 25 people aged 9-10 years, 10 people aged 13-15 years, 5 older people.
Out of 98 people, 19 people remember 3 or more counting rhymes, 27 people remember 2 counting rhymes, 69 people remember 1 counting rhyme, and 3 people don’t remember a single one.
It turned out that people of the older generation (they played more), as well as younger schoolchildren, remember the counting books most of all, because for them it is a living genre.
But, unfortunately, the overwhelming majority (67% of respondents) name first of all the rhyme that is far from being of the most moral nature (“. I took a knife out of my pocket. I will cut, I will beat.”). Children have heard and read original rhymes, but they hardly use them in games because they don’t remember them by heart (only 0.8% of respondents named them). 20% of respondents know rhymes that are interesting in a cognitive or moral sense, while 74% know those that are meaningless or not morally interesting. Only 19 people had counting rhymes with humor.
We believe that our study allows us to draw conclusions about the lack of attention of educators to joint children's games and to the promotion of the best folklore and original rhymes among young children.
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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. Classic folklore in modern life
Conclusion
Literature
Introduction
Folklore is an integral part of every nation, and it manifests itself both in oral and poetic form and in spiritual form. Over the course of many centuries, various folklore genres, rituals, customs, and beliefs were created and passed on from generation to generation. Nowadays it is becoming increasingly difficult to find those people who would talk about all this; 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, trades and crafts, the dissemination and popularization of works 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, an increase in the level of intellectual development, and 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 child's judgment, like his practical thinking, has a character that is primarily practical - sensual. The sensory nature of a child's body is the first connection that connects him to the world.
Young children perceive all the diversity of the world differently than adults. At first, a child’s thought is associated only with specific images.
The peculiarities of the child's psyche determine the choice of poetic images, the entire composition of children's folklore, and artistic creativity.
Poetic works for many centuries, passed on from one generation to another, gradually acquired content and form that most fully corresponded to the laws of children's aesthetics.
Children's creativity contains the key to understanding adult psychology, children's artistic tastes, and children's creative potential.
Folk artistic creativity 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 joining folk art.
A child in the world of art must live in two intersecting spaces. One space is a children's space, with its games and children's creativity. Another world of adult art.
Examples of adult art are not always easy to understand. And the child should feel the gap that exists between children's and adult art. Over time, he develops the ability to respond to the emotional tonality of adult works.
1 . StorygatheringAndstudyingfolkartisticcreativity
At the beginning of the 19th century, thinking Russia faced an acute problem of the culture of the people, their spiritual wealth, and 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 Russian people, is attracted by the songs associated with the ritual of sun worship and the cult of trees.
Children's fairy tales were allocated to 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 have sifted their cultural heritage, leaving the most valuable in folk art, artistic crafts, folklore, and decorative and applied arts.
Folk art is an inexhaustible source of aesthetic, moral, and emotional education.
For many centuries, folk wisdom, contained in fairy tales, nursery rhymes, jokes, and riddles, has fostered in children pride in the talent of the common people, interest in well-aimed, expressive words, and love for their native language.
2. CollectiveAndindividualstartedVfolklore
Unlike literature - the individual creativity of writers - folklore is a collective creativity. However, this does not mean that the individual principle does not have any significance 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. Early forms of folklore were distinguished by the fact that they were dominated by the collective composition and performance of works. At that time, the creative personality did not stand out much from the team.
Later, individual talented singers began to play an increasingly important role, who in all their creativity 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 connected with the collective and developed on its basis.
Collectivity in folklore is manifested in the external forms of creativity, and in its internal 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 collective (choir, group of people) or by individuals - singers and storytellers.
If they correspond to the needs and tastes of the collective, the people, then they begin to exist among them and are performed in the choir by individual singers.
The collectivity of folklore is expressed in the fact that individual folklore works are recognized as the common property of the people; they live for a long time and are passed on from generation to generation.
But each performer can change the work in accordance with his creative intent.
In various genres of folklore, the collective and individual principles in the creation and performance of works are manifested in different ways: if songs are usually performed by a choir, collectively, then epics and fairy tales are performed individually.
If the text of the spells is very stable, then the text of the lamentations is very flexible; as a rule, it is largely improvised - created, as it were, anew on new material.
But this individual improvisation is carried out according to long-established patterns, on the basis of collectively developed means of artistic expression.
Chatushki are usually works composed by persons known in the village. They show more individuality than in works of other genres of folklore.
The individual principle, 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 away, but to intensify and intensify in the process of the historical evolution of folklore.
3. SustainabilityAndchangeabilityfolkloreworks
Traditionality in folk art is expressed in the relative stability of the verbal text, chant, nature of performance, colors, the transfer of works, as a rule, without significant changes from generation to generation, the preservation over the centuries of works with certain plots and characters, forms and means of expression.
Tradition, like the collectivity of creativity, is characteristic not only of verbal folklore. It is also inherent in other types of folk art - music, dancing, carving, embroidery.
Tradition has its own socio-historical foundations and is determined by important life circumstances.
These conditions and circumstances 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 developed at this time, the tradition was supported by a certain stability of life forms in later periods of history. Due to changes in the very nature of life, the tradition was gradually weakened.
Secondly, works of folk art deeply reflect the most important features of reality and capture important objective qualities of man and nature.
This can be said not only about proverbs, the life generalizations of which have been preserved for centuries and will continue to be preserved for a long time, but also about songs that characterize the spiritual world of man, his universal human properties, thoughts, feelings and experiences.
Thirdly, folk art embodied the principles of folk aesthetics and reflected folk artistic tastes that have been developed over centuries. They are valuable because they embody the objective laws of beauty.
Fourthly, the works of folklore themselves are significant artistic achievements. They satisfy 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 and the great stability of folk works.
4. ProblemstraditionsVmodernfolklore
Among the many problems of modern folklore, the problems of tradition are perhaps the most significant and complex. They cause long-term debates, at times 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 greater its relevance. Moreover, the relevance is not only of a theoretical nature, but even more of a practical one, connected with the everyday life of modern folk artistic crafts.
Traditionality is generally recognized as one of the specific features of folk art. There is extensive literature about traditions in folklore and 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) understand traditionality of folk art mainly 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 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 tradition, some scientists see only the past in the traditions of folk art and conclude that this art is inert, backward, and lacks connections with modernity. A supporter of such views is M. A. Ilyin. Analysis and criticism of his point of view can be the subject of a special article. In this regard, we will limit ourselves to just noting that M. A. Ilyin understands by tradition its particular 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 the original features of local folk art.
Such a narrow understanding of traditions could not but lead to their denial as a path along which one can go “forward with one’s head turned back.” Based on the 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 art.
Such views attracted justified criticism twenty years ago. It occupies many pages in the works of A. B. Saltykov, an outstanding theorist of Soviet applied art, who made a great contribution to the study of issues of tradition6. 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, lie not in the formal features of the art of a given craft and not in their mechanical sum, but in the integrity of the figurative artistic system of the craft and its historical development .
Saltykov’s thoughts on the need for a historical approach to the concept of style in folk art are relevant. “... Every style,” he wrote, “is an expression of the spiritual state of the people of its time... a people does not stop in its development... it is constantly changing... and changes in artistic style are inevitably associated with these changes.”
A. B. Saltykov brilliantly confirmed the correctness of his theoretical positions on issues of tradition through the example of practical work with the masters of Gzhel.
Nowadays, 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 towards the national heritage. Heritage is all the art of the past. Everything that has lasting value passes into tradition. This is the experience of the people, something that is capable of living in a new way in modern times.
In the broad sense of the word, there are no phenomena outside of tradition. Nothing is born out of nowhere, without mastering the experience of the past. Traditions are a kind of engine of cultural progress, those organic features of various 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 something similar to the past. The dialectical unity of the past, present and potential future inherent in tradition is perfectly 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, economics, culture, art, in each area having their own specificity 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 centuries and have been refined by many generations of people. The blood connection of folk art with the life, work, and everyday life of the people determined the historical continuity of the traditions of folk culture, the formation of not only nationwide, national traditions, but also their local manifestations in peasant creativity and folk crafts. The traditions of peasant art, due to the well-known conservatism of the way of life and a special commitment to patriarchal antiquity, developed slowly, evolutionarily. Many of these traditions have become a thing of the past along with the environment and living conditions that gave birth to them, for example, the traditions of ancient Slavic mythology, which gave birth to images of many types of peasant art and a whole layer of folk embroidery ornaments.
The creation of a style and the formation of traditions of the art of craft were influenced by many factors, some more indirectly and, as it were, elusively in external manifestation, others - clearly and directly influencing the nature of art and the structure of the artistic image.
A specific historical approach to the analysis of all factors involved in the creation and development of folk crafts 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 artistic creativity has always been and still is important. The most valuable product of labor is considered to be one that has accumulated not only individual creativity, but also the hereditary experience of previous generations, learned 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. With the interaction of tradition and innovation, multiple traditions do not die out, but gradually change, taking on 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 existence of an ethnic group. Thanks to innovative
elements there are changes in tradition.
Traditional folk culture is not only the basis for the spiritual unity of the people, but also a cultural and educational institution of the modern individual. It retains a unique property in 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 there is a long overdue need to create a leisure space for the transfer of socio-cultural experience, built on the principles of the traditional (a meeting place for 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 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 unique regional traditions are emerging, the existence of which is noted by 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 and international scientific and practical conferences are organized annually and step by step.
In the process of implementing the project, 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 highlighted 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 imaginative, but also rational thinking. Compliance with the principles will make it possible to realize the unity of training, education and development in the development of folk culture in its regional manifestations.
Getting to know 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 continuity of cultural traditions in holding public mass holidays together with adults. An understanding is fostered that the people around them are carriers of folklore tradition in varying amounts 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 gradually changes due to the replacement of the attributive components of the ritual with modern ones; the content changes, a new poetic and mythological background of the ritual, new symbolism is born; the form, content, and time canons are simultaneously transformed, which leads, in essence, to the birth of a new phenomenon. The modern model of traditional calendar and family holidays is becoming secondary.
It remains important for various centers to comprehend and transmit traditional folk culture from generation to generation; development of the youth folklore movement in the region (in all directions); combining the efforts of ethnographers, philologists, musicians; attracting interest in traditional culture among professionals and lovers of folk art.
Accumulated and systematized folklore and ethnographic materials, observations and generalizations concerning the patterns of traditional culture have not only 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 activities for the preservation, study and further development of folklore traditions.
The “scientific component” is gradually strengthening; scientific and practical conferences are held annually within the framework of the Days of Slavic Literature and Culture.
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 a path and hope in arranging modern society.
The problem of studying the factors of preserving traditional culture is complex and is the subject of research in cultural studies, sociology, ethnography, linguistics, folklore and other sciences.
6. ClassicalfolkloreVmodernlife
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, sayings, signs.
Some of them, for example, folk tales, children's lullabies, fulfill the same 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, for example, folk natural signs, have lost their original functions. In modern conditions, folk weather predictions often do not work because the natural environment has changed and the ecological balance has been disrupted. In addition, the forms of assimilation and transmission of folk signs have changed. A modern urban person becomes familiar with them, for example, by reading a tear-off calendar or listening to radio programs aimed at reminding people of traditional folk culture. Functioning and being transmitted in this way, folk signs acquire a different cultural meaning. In modern everyday culture, folk signs move into the sphere not even of memory, but rather of reminders, into the sphere of the curious. They are retold to friends and neighbors, but they are also very quickly forgotten - until the next reminder.
And in the villages, traditional folk signs have largely lost their vital necessity and relevance for successful agricultural work. Here, on the one hand, there is an obvious need for scientific weather forecasts - in connection with climate change, on the other hand, new signs are being developed based on personal experience and observations. 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 certain phenomena and events represent a manifestation of supernatural forces or serve as an omen of the future) have reached our time and fully exist in the ordinary mass consciousness. It is difficult to find a person who has not said out loud at least once in his life that spilling salt means a quarrel, hiccups mean someone is remembering, meeting a woman with an empty bucket is unlucky, and breaking dishes means happiness. Signs are a fairly striking example of the existence of elements of traditional ethnoculture in modern culture. Everyday, repeated behavioral situations and the everyday commentary that accompanies them are easily and effortlessly passed on “inherited” from generation to generation.
Conclusion
At present, the enormous role of musical folk art in the art of each country has long been recognized. Folk art found its most vivid and complete expression not in purely instrumental music, but in combining melody with words - in song. The song, which originated in its most primitive form many thousands of years 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 in both the lyrics and tunes. A 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 accessible to the general public, professional and amateur performing groups, provide additional material for the creativity of composers, as well as for pupils and students of special educational institutions.
Folk art helps not only ethnographers to better understand the life, culture, and way of life of our ancestors, but also children who can only imagine it.
Love, respect, and pride for folk art are 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 work and relationships between people. It is necessary to talk about the origins of folk art in an accessible form.
Through familiarization and education of folk art, children become acquainted with the work of adults, learn to respect it, and learn the simplest skills; interest, independence, and the ability to work are fostered.
The use of various materials, aids, toys, paintings, works of folk art helps to perceive and reproduce the most striking features of the artistic image.
Introduction 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 your free time with interesting and meaningful activities, you need to develop a desire for beauty, 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 folk culture." - St. Petersburg, 2003
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The leading folklorist of the region, Nelly Novoselova, told the guests of the Kasyanovsky House about the importance of folk art.
The evening of December 14 will be special for the Kasyanov House: I understood this even before the meeting with Nelly Aleksandrovna Novoselova, Candidate of Philological Sciences, Associate Professor of the Department of World Literature and Methods of Teaching it at the Krasnoyarsk State Pedagogical University. V.P. Astafiev, the author of many monographs and publications, an excellent student of public education, an honorary worker of higher professional education in Russia.
The temporary shelter of our museum and educational center - the media center of the Department for Church Relations with Society and the Media of the Krasnoyarsk Diocese - could barely accommodate everyone who wanted to meet the main character of the evening on the eve of her anniversary.
Young people clearly predominated among them.
- Are you Nelly Alexandrovna’s students?
- No, she will start teaching classes next semester.
- Why were you so interested in meeting her?
- That’s how senior students praise her! All! They say he is the best teacher.
Agree that such unanimity among students is in itself indicative. However, Nelly Novoselova is not only an excellent teacher, but also the largest specialist in folklore in the Krasnoyarsk Territory, and no one could have explained the stated theme of the evening better than her.
“Folklore has become my calling”
However, Nelly Alexandrovna might not have become a folklorist,” the host, chief custodian of the Kasyanov House, head of the Diocesan Department for Relations of the Church with Society and the Media, Gennady Malashin, begins the evening with an unexpected biographical detail.
Indeed, Nelly Novoselova began her studies at the Polytechnic Institute, in the radio electronics department. I got in after surviving a difficult competition, but...
“During my studies, I realized that this was not my path at all, that I entered there simply out of interest. Both the dean and my relatives tried to stop me, but I’m glad that I managed to show firmness and leave... My calling turned out to be philology, and specifically folklore.
It is difficult to describe all of Nelly Alexandrovna’s services to her alma mater: she not only educated entire generations of grateful students, but also became the inspirer and main organizer of the creation of a folklore office at her faculty, and expeditions to collect samples of folk art in remote areas of the Krasnoyarsk Territory.
The first such trips took place, as they say, at random, Nelly Alexandrovna now recalls: there was no simple method for surveying local residents, much had to be achieved empirically.
- Our students played a big role: responsible, patient, infinitely friendly: they traveled to distant lands and knocked on the door of these closed, seemingly stern grandmothers from somewhere in the Kezhemsky or Pirovsky district.
Success was achieved: priceless examples of a bygone culture with a long history were preserved for posterity, despite all the artificial obstacles that folklorist enthusiasts encountered in the 70s and 80s of the last century. Saved in a timely manner: nowadays in those places it is already difficult to hear traditional songs or “spells” from those living today...
The depths of history - in the lines of songs
So is it possible to revive the old everyday customs of yesteryear? Popularize the songs that generations of our ancestors sang? To put it simply: is it possible to make folklore accessible to a mass audience, and not to a relatively small circle of connoisseurs and enthusiasts?
The heroine of the evening herself is very skeptical:
- Folklore is a living organism; it is closely connected with everyday life, with people’s beliefs, their ideas about the world around them. As time changes, the content of ritual elements also changes, and aesthetic ideas change.
In the 19th and especially in the 20th centuries, there was a breakdown in the mass consciousness, complains Nelly Alexandrovna. And works of folk culture, closely related to the traditional calendar of agricultural work, full of metaphors and allegorical meaning, suddenly turned out to be incomprehensible and unclaimed by descendants.
But does this mean that Russian folklore in the 21st century is something completely uninteresting and unnecessary, comparable to the dead language of a disappeared people on the other side of the globe?
Absolutely not, the specialist is convinced, explaining: first you need to understand that the term “Russian folklore” itself is very conditional and collective; Even within the Krasnoyarsk Territory, serious differences can be noted in works on the same topic, for example, about family life.
The classic song plot for residents of Central Siberia about how a mother-in-law harasses her daughter-in-law is unknown among Siberians. Why? Yes, because in our lands, with their sparse population and the predominance of the male share of the population for a long time, a respectful attitude towards women has naturally developed. That’s why girls in Siberian families were traditionally married off later, and it was customary to watch their marital happiness more closely than in the European part of Russia...
It is the study of folklore that makes it possible to directly come into contact with the life and customs of a past era. In addition, in our post-industrial age, people have a stronger need to search for roots, to express themselves through their ancestors... That, perhaps, is why advertisements for the same traditional-style weddings appear on city streets? So we can rightfully hope for the awakening of widespread interest in folklore.
Mentor for generations
This idea was voiced in one of the videos recorded by the Kasyanovsky House staff especially for this evening, about Nelly Alexandrovna’s conversation with students.
By the way, the theme of the relationship between the teacher and his students ran like a dotted line throughout the entire evening. Rich teaching experience allowed Nelly Novoselova to make an interesting observation:
- The soul of the people can be traced in every detail. For example, the Russian people are very creative and inventive. Try letting our students rewrite the text: no one will rewrite it word for word! Everyone will change something, correct something.
Even more interesting was the following remark from the heroine of the evening:
- Over the years, you notice that it is not the successful students who are more grateful to you as a teacher, but precisely those who have passed tests and exams many times.
And it is not surprising that it was Nelly Alexandrovna’s current students who were given the honor at the evening, albeit “remotely,” from the screen to congratulate their mentor on the upcoming anniversary. They noted everything: the depth of erudition, the skill of presenting material, and the high human qualities and spiritual wealth of the honored teacher and philologist-folklorist.
The folk ensemble “Primrose”, which was present at the event, took over the baton from the students. Its members and participants congratulated Nelly Alexandrovna in the most appropriate manner for the evening: with a festive round dance, and even with singing in the Angara style, so dear to the hero of the day.
The culmination of the honoring of Nellie Alexandrovna was the presentation of the Bishop’s Certificate from Metropolitan Panteleimon of Krasnoyarsk and Achinsk - for his great personal contribution to the development and popularization of spiritual culture in the Krasnoyarsk region.
The honorary award was presented to the teacher by a former student, Gennady Malashin, who also presented her with a copy of the author’s monograph “Krasnoyarsk (Yenisei) Diocese of the Russian Orthodox Church: 1861–2011,” emphasizing that without the lessons received from the teacher at one time, this book would not have been written.
An hour and a half of live communication with an intelligent, highly educated person who is sacrificially in love with his work is an inexhaustible source of food for the mind for many subsequent days, months and, perhaps, even years. As the candidate of philological sciences, associate professor, dean of the philological faculty of the Krasnoyarsk State Pedagogical University named after A. V.P. Astafieva Tatyana Sadyrina: “Nelly Alexandrovna is an amazing person. Communicating with her even for many years, you always learn something new about things that seem to have been known for a long time.”
The project is being implemented using subsidies from the budget of the Krasnoyarsk Territory with the support of the youth policy agency and the implementation of social development programs in the Krasnoyarsk Territory.
Literature is the art of words. But there is another type of verbal art - oral folk art (oral literature, oral literature), or folklore. Folklore has specific features that fiction does not have. The first chapter is devoted to their consideration.
1. Folklore and folkloristics
The international term "folklore" appeared in England in the mid-19th century. It comes from English. folk-lore (“folk knowledge”, “folk wisdom”) and denotes folk spiritual culture in varying degrees of its types.
Folklore is the subject of study of various sciences. Folk music is studied by musicologists, folk dances by choreographers, rituals and other spectacular forms of folk art by theater experts, folk decorative and applied arts by art historians. Linguists, historians, psychologists, sociologists and other scientists turn to folklore. Each science sees in folklore what interests it. The role of ethnology (from the Greek ethnos: “people” + logos: “word, teaching”), a science that pays a lot of attention to people’s life, is especially significant.
For philologists, folklore is important as the art of words. Philological folkloristics studies the totality of oral works of art of various genres created by many generations of people.
Folk verbal creativity was kept in the memory of people; in the process of communication, works passed from one to another and were not written down. For this reason, folklorists must engage in so-called “field work” - go on folklore expeditions to identify performers and record folklore from them. Recorded texts of oral folk works (as well as photographs, tape recordings, diary notes of collectors, etc.) are stored in folklore.
lore archives. Archival materials can be published, for example, in the form of folklore collections.
When a folklorist engages in the theoretical study of folklore, he uses both published and archival recordings of folk works.
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 specificity of folklore and causes its difference from literature.
2.1. Traditionality
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 models, and even included direct borrowings. The speech style used constant epithets, symbols, comparisons and other traditional poetic devices. Works with a plot were characterized by a set of typical narrative elements and their usual compositional combination. In the images of folklore characters, the typical also prevailed over the individual. Tradition required the ideological orientation of the works: they taught goodness and contained the rules of human behavior in life.
The general thing in folklore is the main thing. Storytellers (performers of fairy tales), singers (performers of songs), storytellers (performers of epics), voplenitsy (performers of lamentations) sought first of all to convey to listeners what was in keeping with tradition. The repeatability of the oral text allowed for its changes, and this allowed an individual talented individual to express himself. A multiple creative act, co-creation, took place, in which any representative of the people could be a participant.
The development of folklore was facilitated by the most talented people endowed with artistic memory and creative gifts. They were well known and appreciated by those around them (remember I. S. Turgenev’s story “The Singers”).
The oral artistic tradition was the common fund. Each person could select for himself what he needed.
In the summer of 1902, M. Gorky observed in Arzamas how two women - a maid and a cook - composed a song (the story “How they composed a song”).
“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 everyday life. I, sitting by the window with a book in my hands, listened to how my cook, the portly, pockmarked Ustinya, talking quietly with the maid<...>Suddenly Ustinya speaks smartly, but in a businesslike manner: “Okay, Mangutka, give me a hint...” - “What is this?” - “Let’s put together a song...” And, sighing noisily, Ustinya begins to sing quickly:
"Oh, yes, on a white day, in the clear sun,
On a bright night, during the month..."
Hesitantly feeling for the melody, the maid timidly sings in a low voice:
"I'm worried, a young girl..."
And Ustinya confidently and very, touchingly brings the melody to the end:
"My heart is always aching..."
Kokoleva E.N., With. Pelym, Kochevsky district
One of the pressing problems in our modern society is the problem of studying our native language and literature, oral folk art. Do I need to study my native language, literature, folklore? Yes, it is necessary, because... The mirror of a people’s culture, their psychology and philosophy is their native speech. It is necessary to teach children to effectively use language in a variety of areas; it is necessary to study various speech genres. Here, special linguistic courses on the history of language and the analysis of the language of folklore can be of great benefit.
Oral folk art is a multifunctional phenomenon. Works of folklore, reflecting the worldview of their creators, the results of their observations of nature, human behavior, human relationships, represent an interesting source of knowledge of the native language, folk life and a means of educating the younger generation. In folklore you can find everything for the comprehensive development of children. It is imaginative, and therefore develops the child spiritually and emotionally, awakens in him imagination, a sense of beauty and harmony, and carries cheerfulness. Folklore, as an ecology of the soul, is capable of solving many educational problems; it reveals to children the attractive power of the folk word, native language, and cultivates aesthetic taste. All this gives the first shoots of understanding our roots - love and affection for our mother, our home, our native land. “Gort muyt is my dear mother,” says a popular proverb.
Familiarization with folklore and its expressiveness make it possible to reveal for children established national and universal values, i.e. introduce children to global culture, the origins of which always include folk art. In any work, even the smallest one - be it a nursery rhyme, a song, a joke or a folk game - one can see the era, life, and national flavor. These small folklore forms, entering the lives of children, carry knowledge, cultural traditions of the district - all this, undoubtedly, cultivates taste. Folklore teaches children to understand “good and evil,” to resist bad things, to actively protect the weak, to show care and generosity not only to people, but also to nature, and to understand its condition. Thanks to the study of folklore and their native language, children better understand everyday situations and respond to humor. So, entering into a fight with Leshy, Kikimora, Vodyany, an experienced peasant, confident in his rightness and victory, encourages himself: “Te Vöris - tenat vynynut unazyk, and me muzhik - menam ylösö unazyk.”
The practical development of the surrounding world, the fruits of many years of observations and comparisons, took shape in the form of riddles and signs, the thematic diversity of which testifies to the breadth of interests of their authors. For example, before it rains, a cow carries a blade of grass home in her mouth, etc. The most important place in oral folk art is occupied by funeral and memorial lamentations (ollyalannez) - the core of Komi-Permyak folklore.
Folk art is the process of people creating new cultural values and embodying them in works of art. The artistic creativity of the people arose as creativity for themselves, to satisfy their aesthetic needs. Despite the lack of rights and poverty, the Komi-Permyaks preserved and developed their original culture and brought it to the present day. But in the modern school curriculum, folklore is shown little, without taking into account the region, local folklore is not introduced. Teachers face a big task in introducing children to their native language and folklore. It is necessary that a graduate of a national school can proudly declare that he is a Komi-Permyak and will do everything for the prosperity of the district, and is fluent in his native language and folk art, depending on his inclinations.
