The meaning of folklore today. The meaning and role of folklore in the spiritual and moral education of preschool children Why do people dream about people who have passed away?

Introduction

Folklore is the main means of folk pedagogy. Folk pedagogy is an educational subject and type of activity of adults for the upbringing of the younger generation, the totality and interrelation of ideas and ideas, views and opinions and beliefs, as well as the skills and techniques of the people on the development of education and training 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 Belarusians, which was formed through 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 full of pedagogical experience and folk wisdom. On the basis of folklore, a huge layer of ethical and pedagogical ideas was created: respect for elders, hard work, tolerance, goodwill, tolerance for other people's opinions.

Tolerance, tolerance, virtue, as traditional Christian virtues, gradually became the distinctive features of Belarusians. Moreover, they coexist with such qualities as personal dignity, focus, and activity.

Folklore with educational content, everyday traditions, holidays, Belarusian classical literature - these are the concepts that have a huge impact on the formation of national character. It promotes the creative development of children and youth in the world of epics, fairy tales, and legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, and 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 nations, 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 unobtrusive and at the same time effective educational influence.

Consideration of this course topic is relevant and interesting at the same time.

The educational potential of folklore is limitless. Today, our society is reviving forgotten ancient traditions, 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 human education and development, has been especially active in recent years in the socio-pedagogical environment. This is due to the functional characteristics of folklore genres, the deep spirituality and wisdom of folk art, and the continuity of the process of transmitting national culture from generation to generation.

At the beginning of the new century, there is an increased interest in national culture, ethnic processes, traditional artistic creativity, and folklore. Scientists note a special growth in the historical and national self-awareness of each people, explaining this by socio-psychological and political reasons.

Preservation and development of national culture and one’s roots is the most important task, which requires careful treatment of historical and cultural monuments, and traditional folk art. The revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and fine arts is a pressing problem of our time. Folklore, its genres, means, and methods most fully fill out the entire picture of people's life, giving a vivid picture of the life of the people, their morality, and spirituality. Folklore reveals the soul of a people, its virtues and characteristics. From a scientific point of view, 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.

Coursework objectives:

– characterize the phenomenon of folklore and its educational significance;

– characterize the main genres of folklore, based on the educational potential of each;

– show the practical application of the main folklore genres in education.

The object of this coursework is the multifaceted phenomenon of national folklore, and the subject is the genres of folklore and their educational potential.

Methods used when 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, wood carving, etc.), and sometimes the 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. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: verbal folk art.

Folklore (eng. folklore) – folk art, most often oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, fine and arts and crafts.

Folklore is the collective and tradition-based creativity of groups and individuals, determined by the hopes and aspirations of society, and is an adequate expression of their cultural and social identity.

According to B.N. Putilov, there are five main variants of the meaning of the concept “folklore”:

1. folklore as a set, a 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 artistic creativity itself, it also covers what can be called mentality, traditional beliefs, and folk philosophy of life;

3. folklore as a phenomenon of artistic creativity of the people;

4. folklore as a sphere of verbal art, that is, the area 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 truly the most developed area of ​​folkloristics, which has made a huge contribution to the development of the science of literature - a direct descendant, “continuator” of oral folk art, genetically related to 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 and folk art.

The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions, through which primitive man sought to influence the forces of nature, fate, were accompanied by words: spells and conspiracies were pronounced, and various requests or threats were addressed to the forces of nature. The art of words 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 subsequent generations, the role of verbal information increased. The separation of verbal creativity into an independent art form is the most important step in the prehistory of folklore. Folklore was a verbal art organically inherent in folk life. The different purposes of the works gave rise to genres, with their various themes, images, and style. In the ancient period, most peoples had tribal traditions, work and ritual songs, mythological stories, and conspiracies. The decisive event that paved the line between mythology and folklore itself was the appearance of fairy tales, the plots of which were perceived as fiction.

In ancient and medieval society, a heroic epic took shape. Legends and songs reflecting religious beliefs also arose (for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, as they remained in people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.

For thousands of years, folklore was the only form of poetic creativity among all peoples. But with the advent of writing for many centuries, right up to the period of late feudalism, oral poetry 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, a work could become a national property.

1.2 Specific features of folklore

One of the most important specific features of folk oral creativity is collectivity. Each piece of oral folk art not only expresses the thoughts and feelings of specific groups, but is also collectively created and disseminated. 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 also created songs, ditties, and fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, unique professions arose related to 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-term 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: from many works, the people choose and preserve the best, similar to their thoughts and aesthetic views. The collective principle in folklore is not opposed to the individual. Folklore is characterized by an organic combination of the collective and the individual, while collectivity does not interfere with the manifestation of the individual abilities of writers and performers.

The oral form of existence of folklore is organically connected with the collectivity of folk art. Folklore appeared earlier than writing and initially existed only in oral transmission. The oral form of existence of folk poetry leads to the emergence of variants of the same folklore work - this is another specific feature of folklore - variability.

Folklore works differ from fiction in the features of their artistic form. These features include, first of all, traditional poetics developed by the people over the centuries. Traditional folk symbolism, constant epithets, metaphors give folk art a specific flavor.

Folklore differs from written literature in its typification features. Literature is characterized by the creation of typical characters in typical settings. A typical character, reflecting the main features of his social environment and his era, is manifested through the individual qualities of the hero, through his individual and unique appearance. The images of oral folk art do not have such individualization.

1.3 Functions and educational potential of folklore

Firstly, folklore helps to deepen knowledge about folk spiritual culture in its past and present. Folklore introduces you to the life, traditions, and customs of your 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 nation 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 determining his likes and dislikes, and comprehending popular ideas about human beauty. Wise folk proverbs and sayings inform about behavioral norms.

Thirdly, with the help of folklore it is possible to develop a respectful attitude both towards the culture of one’s own ethnic group and a tolerant attitude towards other ethnic cultures. By studying folklore, a child realizes that the people are creators, creators of cultural heritage that should be admired and proud. 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 strives to understand what means people use in their creativity, 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. educational

Aesthetic function folklore lies in the fact that it forms artistic taste in children, develops the ability to appreciate and understand beauty, and contributes to the formation of a harmoniously developed personality.

The essence educational function lies in the fact that oral folk art, being a means of folk pedagogy, shapes the qualities of human character. Proverbs, sayings, and fairy tales are filled with high moral and moral meaning and give characterological assessments of a person from the standpoint of “good” and “bad.”

Cognitive significance of folklore lies in the fact that this is a way for a child to get acquainted with the world around him.

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 an apt figurative saying of an edifying nature, typifying a wide variety of life phenomena and having the form of a complete sentence.

Proverbs satisfied many of the spiritual needs of workers: cognitive-intellectual (educational), industrial, 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 assessed 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 people's ideals, expectations and aspirations. (6; 36)

A proverb is created by the entire people, therefore it expresses the collective opinion of the people. It contains a popular assessment of life, 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 that is favorable for memorization, which enhances their significance as ethnopedagogical tools. Proverbs remain firmly in memory. Their memorization is made easier by the play of words, various consonances, rhymes, rhythms, sometimes very skillful. The ultimate goal of proverbs has always been education; since ancient times they have acted as pedagogical tools. On the one hand, they contain a pedagogical idea, on the other hand, they have an educational influence and carry out educational functions: they tell about the means and methods of educational influence that correspond to the ideas of the people, they give characterological assessments of the individual - 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.

Proverbs contain a lot of practical material: everyday advice, wishes in work, greetings, etc.

The most common form of proverbs is instructions. From a pedagogical point of view, instructions of three categories are interesting: instructions instructing children and youth in good morals, including the rules of good manners; teachings calling on adults to behave decently, and, finally, instructions of a special kind, containing pedagogical advice, stating the results of education, which is a kind of generalization of pedagogical experience. They contain a huge amount of educational material on issues of upbringing. Positive and negative personality traits, according to proverbs, are presented as goals of education and re-education, implying every possible improvement in the behavior and character of people. At the same time, it is noteworthy that all nations recognize the infinity of human perfection. Any person, no matter how perfect he is, can rise to another level of perfection. This step leads not only a person, but also humanity to progress. Many proverbs are motivated and reasoned calls for self-improvement.

The Literary Encyclopedia describes a riddle as “an intricate poetic description of an object or phenomenon that tests the ingenuity of the guesser.” The definitions of a riddle are based on the same features:

– the description is often framed in the form of an interrogative sentence;

– the description is laconic and the riddle has rhythm.

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 implied (hidden) question.

Riddles are designed to develop children's thinking, 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 subject (phenomenon). But the significance of riddles in mental education is far from being limited to the development of thinking; they also enrich the mind with information about nature and knowledge from various areas of human life. The use of riddles in mental education is valuable because 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 a child’s memory, imaginative thinking, and speed of mental reactions.

A riddle teaches a child to compare the characteristics of different objects, to find commonality in them, and thereby develops his ability to classify objects and discard their unimportant characteristics. In other words, with the help of a riddle the foundations of theoretical creative thinking are formed.

A riddle develops a child's observation skills. The more observant a child is, the better and faster he solves riddles. A special place in the process of raising children is occupied by the diagnostic function of the riddle: it allows the teacher, without any special tests or questionnaires, to identify the degree of observation, intelligence, mental development, as well as the level of creative thinking of the child.

A saying - from the simplest poetic works, such as a fable or a proverb, can stand out and independently turn into living speech, the elements in which condense their content; this is not an abstract formula of the idea of ​​the work, but a figurative hint of it, taken from the work itself and serving as its substitute (for example, “a pig under the oak tree,” or “a dog in the manger,” or “he washes dirty linen in public”)

A saying, unlike a proverb, does not contain a general 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, work 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 presentation of the idea - ethical, aesthetic, pedagogical. Beauty and goodness appear in unity in the song. Good fellows, praised by the people, are not only kind, but also beautiful. Folk songs have absorbed the highest national values, focused only on goodness, on human happiness.

Songs are a more complex form of folk poetry than riddles and proverbs. The main purpose of songs is to instill a love of beauty, to develop aesthetic views and tastes. The song is characterized by a high poeticization of all aspects of people's life, including the education of the younger generation. The pedagogical value of the song is that beautiful singing was taught, and it, in turn, taught beauty and goodness. The song accompanied all events of people's life - work, holidays, games, funerals, etc. The whole life of people passed in song, which best expressed the ethical and aesthetic essence of the individual. A complete song cycle is a person’s life from birth to death. Songs are sung to a baby in a cradle, who has not yet learned to understand, to an old man in a coffin, who has ceased to feel and understand. Scientists have proven the beneficial role of gentle song in the mental development of a child in the womb. Lullabies not only put the baby to sleep, but also caress him, soothe him, and bring joy. Some categories of songs are aimed at specific age groups, although, of course, most songs cannot be sharply differentiated and distributed by age. Some adult songs are sung by small children with special enthusiasm. Therefore, we can only talk about the predominant performance of certain songs at a given age.

Noteworthy means of educational influence are pestles And nursery rhymes. In them, the growing child occupies the entire attention of the adult. Pestushki got their name from the word to nurture - to nurse, to carry in one’s arms. These are short poetic refrains that accompany the child’s movements during nurturing.

Pestlets make sense only when accompanied by a tactile device - a light bodily touch. A gentle massage, accompanied by a cheerful, simple song with clear pronunciation of poetic lines, puts the child in a cheerful, cheerful mood. Pestushki takes into account all the main aspects of the child’s physical development. As he begins to find his feet, he is told one thing; a child taking his first steps is taught to stand more firmly on his feet and at the same time other pestles speak.

Pestushki gradually turn into nursery rhyme songs that accompany the child’s games with fingers, arms, and legs. These games often also contain pedagogical instruction in hard work, kindness, and friendliness.

Song is a complex form of folk poetry. The main purpose of songs is aesthetic education. But they aim to implement other aspects of personality formation, i.e. are a comprehensive means of influencing the individual.

The songs reveal the external and internal beauty of a person, the meaning of beauty in life; they are one of the best means of developing aesthetic tastes in the younger generation. Beautiful melodies enhance the aesthetic impact of the poetic words of the songs. The influence of folk songs on peasant youth has always been enormous, and their significance has never been limited only to the beauty of verse and melody (external beauty, beauty of form). The beauty of thoughts and the beauty of content are also among the strengths of folk songs.

And the very words of the songs, and the conditions, and the nature of their performance contribute to the strengthening of health and the development of hard work. The songs glorify health, it is called happiness, the highest good. People have always believed that songs develop the voice, expand and strengthen the lungs: “To sing loudly, you need to have strong lungs,” “A sonorous song expands the chest.”

The importance of songs in the labor education of children and youth is invaluable. As mentioned above, songs accompanied and stimulated the labor process; they contributed to the coordination and unification of the labor efforts of workers.

Fairy tales are an important educational tool, developed and tested by people over centuries. Life and folk education practices have convincingly proven the pedagogical value of fairy tales. Children and fairy tales are inseparable, they are created for each other, and therefore familiarity with the fairy tales of one’s people must be included in the education and upbringing of every child.

The most characteristic features of fairy tales are nationality, optimism, fascinating 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. There was a lot of superstition and darkness in the beliefs of the people. This is dark and reactionary - a consequence of the difficult historical past of the working people. Most fairy tales reflect the best features of the people: hard work, 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 has made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of a people, their best features, and cultivate these features 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 suffering of the positive hero and his friends is transitory, temporary, and they are usually followed by joy, and this joy is the result of struggle, the result of joint efforts. Optimism Children especially like fairy tales and enhance the educational value of folk pedagogical means.

The fascination of the plot, imagery and fun 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. The hero usually very clearly and clearly shows those main character traits that bring him closer to the national character of the people: courage, hard work, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, the trait of hard work as a result of hyperbolization reaches the utmost brightness and convexity of the image (in one night build a palace, a bridge from the hero’s house to the king’s palace, in one night sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, thresh, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, boldness, etc.

Imagery is complemented funnyness fairy tales The wise teacher-people took special care to ensure that fairy tales were interesting and entertaining. A folk tale contains not only bright and lively images, but also subtle and cheerful humor. All nations 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 from all peoples of the world are always instructive and edifying. It was precisely noting their instructive nature, their didacticism, that A.S. wrote. Pushkin at the end of his “Tale of the Golden Cockerel”:

The fairy tale is a lie, but there is a hint in it!

A lesson to good fellows.

Due to the features noted above, fairy tales of all nations are an effective means of education. Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.

Folk theater, existing in forms organically related to oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of transformation. Theatricalization of the action was present in calendar and family rituals (Yuletide dressing up, weddings, etc.).

In folk theater, a distinction is made between live theater and puppet theater. The Russian Petrushka Theater was close to the Ukrainian nativity scene and the Belarusian batleyka.

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 directly communicated with the audience, who could give cues, 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 decorations. The main interest in it is focused not on the depth of revealing the characters of the characters, but on the tragic or comical nature of situations and situations.

The folk theater introduces young spectators to verbal folklore, develops memory and imaginative thinking. Comic characters make fun of people's vices, dramatic characters teach empathy. By participating in his simple performances, the child learns to speak correctly and beautifully, give a speech in front of an audience, and 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 that expressed new features of everyday life.

Peoples engaged in hunting and animal husbandry reflected their observations of the animal world in their dance. The character and habits of animals, birds, and domestic animals were conveyed figuratively and expressively: the Yakut dance of the bear, the Russian crane, the gander, etc. Dances on the theme of rural labor appeared: the Latvian dance of reapers, the Hutsul dance of woodcutters, the Estonian dance of shoemakers, the Belarusian lyanka, the Moldavian poame ( grape). Folk dance often reflects the military spirit, valor, heroism, and reproduces battle scenes (Georgian khorumi, berikaoba, Cossack dances, etc.). The theme of love occupies a large place in folk dance art: dances expressing the nobility of feelings, respectful attitude towards a woman (Georgian kartuli, Russian Baynov square dance).

Dance allows you to develop plasticity, special coordination of movements, techniques for relating movement to music. Children learn to move rhythmically, communicate with each other in motion (round dance, stream).

Folk arts and crafts immortalize the vast, ever-living soul of the people, their rich practical experience and aesthetic taste. In Belarus, artistic woodworking, pottery, weaving, painting, weaving and embroidery were the most developed.

In certain features of folk art, 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 feeling of the subject, the plastic form, and 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 discoveries of the present. Children from an early age were involved in work and helping their parents. Working together helps children better master a craft, learn from the experience of a mentor (parents), and instills hard work.

2. The practice of using folklore and folklore genres in the system of national education

Folklore promotes the creative development of children and youth in the world of fairy tales, epics, and legends. Findings from the centuries-old history of spiritual traditions, systematized in folklore, should be used in building a modern model of education.

Let's look at practical applications 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 responsibility of parents, and then of educational institutions and other public institutions. That is why there are a great many proverbs praising work and ridiculing laziness among the peoples of the whole world.

He is not good who has a handsome face, but he is good who is good at business (Russian proverb).

Great in body, but small in deed (Russian proverb)

A little deed is better than a lot of idleness (Russian proverb)

If you love to ride, love to carry a sleigh (Russian proverb)

You have to bend down to drink from a stream (Russian proverb)

Gultay for work, and mazol by the hand (Belarusian proverb)

Love for the homeland, one’s native land is the most important theme in the education of patriotism.

The bird that is not happy with its nest is stupid.

The Motherland is your mother, know how to stand up for her.

Someone else's food has someone else's taste.

Each sandpiper praises its swamp.

Where the pine tree grows, there it is red.

A swan has no use for the steppe, a bustard has no need for a lake.

Even the frog sings in his swamp.

Houses and walls help.

On his street there is a dog - a tiger.

A pile hut, like a native womb.

A special place in the system of aphorisms is occupied by proverbs that teach respect for elders.

Shanuy people, then I will pashanuytsya. (4; 302)

Old man, please, little man, please.

Proverbs and sayings in artistic images recorded the experience of life lived in all its diversity and inconsistency.

Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, inferences, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and succinctly convey images of objects, develops in children a “poetic view of reality.”

Reflecting the picturesque landscapes of the homeland, full of colors, sounds, smells, riddles contribute to the education of aesthetic feelings.

Fluffy carpet

Not fabric with your hands,

Not sewn with silks,

In the sun, in the month

Shines like silver (snow)

Riddles help children understand the world around them and introduce them to the world of things.

Here are examples of riddles about household items.

Two rings, two ends, nails in the middle (scissors)

No legs, but I walk, no mouth, but I’ll tell you when to sleep, when to get up, when to start work (clock)

Riddles pay attention to 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 up hives in summer (bear)

Shaggy, mustachioed, scouring the pantries, looking for sour cream (cat)

I will get a round, ruddy apple from the tree

Low and prickly, sweet and fragrant, if you pick the berries, you will 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 it has great artistic significance in raising children.

Fairy tales, being artistic and literary works, they were at the same time for workers and 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 among children in the fact that the simplicity and spontaneity of folk art correspond to the same properties of child psychology.

Fairy tales, depending on the topic and content, make listeners think and make them think. Often a child concludes: “This doesn’t happen in life.” The question involuntarily arises: “What happens in life?” Already the conversation between the narrator and the child, which contains the answer to this question, has educational significance. But fairy tales also contain educational material directly. It should be noted that the educational significance of fairy tales extends, in particular, to individual details of folk customs and traditions and even to everyday trifles.

For example, in the Chuvash fairy tale “He who does not honor the old will not see the good himself,” it is said that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet and not in water, but only in oil. What came of it? As soon as she opened the lid, millet grains, not boiled, but fried, jumped out and 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 everyday experience, otherwise you will be punished. But for children it also contains educational material: they fry in oil, not boil, therefore, it is absurd to cook porridge without water, in oil alone. Children are usually not told about this, because no one does this in life, but in the fairy tale children are given instructions that everything has its place, that there should be order in everything.

Here's 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 every “star” of fat in her soup. When the old woman was putting in the butter, the tailor encouraged her: “Put it in, put it in, old woman, don’t skimp on the butter, because it’s not for nothing that I ask you: for every “star” I’ll pay a penny.” The greedy old woman put more and more oil in order to get a lot of money for it. But all her efforts yielded an income of one kopeck. The moral of this story is simple: don't be greedy. This is the main idea of ​​the fairy tale. But its educational meaning is also great. Why, the child will ask, did the old woman get one big “star”?

In fairy tales, the idea of ​​the unity of teaching and upbringing in folk pedagogy is realized to the maximum extent.

Folk lyrical song differs significantly from other genera and

types of folklore. Its composition is more diverse than the heroic epic, fairy tales and other genres. The songs were created at far from the same time. Each time composed its own songs. The lifespan of each song genre is also not the same.

Children's songs are a complex complex: these are songs of adults, composed especially for children (lullabies, nursery rhymes and pestushki); and songs that gradually passed from the adult repertoire to the children's repertoire (carols, spring songs, chants, game songs); and songs composed by the children themselves.

In infancy, mothers and grandmothers lull their children to sleep with affectionate lullabies, entertain them with nursery rhymes and nursery rhymes, play with their fingers, arms, legs, and bounce them on their knees or in their arms.

Well known: “The magpie-crow was cooking porridge...”; “Okay, okay! Where were you? –

By Grandma…".

Pestushki are songs and rhymes that accompany the child’s first conscious movements. For example:

"Oh, he sings, he sings

Nightingale!

Oh, he sings, he sings

Young;

Young,

Pretty,

Pretty."

Nursery rhymes - songs and rhymes for a child’s first games with fingers, arms, and legs. For example:

“Stretchers, stretchers!

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 with?

- On a bipod, on a harrow,

On a sheaf of oatmeal,

On a rye ear.

Sentences are verbal addresses to someone. For example, they say in the bathhouse:

From Gogol - water,

From a baby - thinness!

Roll away, all of you.

The lullaby occupies a special place in folklore.

Foxes are sleeping

Everything bit by bit,

Martens are sleeping

Everything is in order,

Falcons are sleeping

All in nests,

The sables are sleeping

Where they wanted

Little kids

They sleep in cradles.

In lullabies, mothers talk about the surrounding reality, think out loud about the purpose and meaning of life, and express their worries, joys and sorrows. In the lullaby, the mother finds an outlet for her feelings, an opportunity to fully speak out, express herself and get 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 requiring constant caring attention, love and tenderness, without which he simply cannot survive.

Folk songs contain joy and sorrow, love and hatred, joy and sadness. The songs reveal the best features of the national character of Belarusians: courage, bravery, truthfulness, humanism, sensitivity, hard work.

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 identical requirements for the qualities of the personality being formed and the system of means of its upbringing and training. It represents a unique (common to all mankind) folk wisdom, a system of universal human values, proven over centuries. But this does not mean that it is necessary to use the entire arsenal of folk remedies and educational factors without changes and critical evaluation. It is necessary to take those that work today and correlate with our ideas about humanism and universal human values.

It is in vain to think that oral folk art was only the fruit of popular leisure. It was the dignity and intelligence of the people. It formed and strengthened his moral character, was his historical memory, the festive clothes of his soul and filled with deep content his entire measured life, flowing according to the customs and rituals associated with his work, nature and the veneration of his fathers and grandfathers.

Folklore plays an important role in raising children. Dividing it into genres allows, at a certain age, a child to enrich his spiritual world, develop patriotism, respect for the past of his people, study of its traditions, and assimilation of moral standards of behavior in society.

Folklore develops a child’s oral speech, influences his spiritual development and his imagination. Each genre of children's folklore teaches certain moral standards. So, for example, a fairy tale, by likening animals to people, shows a 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. An epic epic is a heroic narrative about events that took place in ancient times. And although epics are not so easy for children to understand, they are still aimed at instilling respect for the past people, at studying the traditions and behavior of people at all times, at the patriotism of the Slavic people, who, despite everything, remained faithful to their homeland and defended it in every possible way. Song lyrics also have an impact on raising children. It is mainly used when the child is still very young. For example, lullabies are sung to a baby to calm him down and put him to sleep. Song lyrics also include ditties, jokes, pesters, tongue twisters, and counting rhymes. They are specifically aimed at developing hearing and speech in children, since they use a special combination of sounds.

Thus, the introduction of a child to folk culture begins in childhood, where basic concepts and examples of behavior are laid down. Cultural heritage is passed on 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 preschool children. M., 1995.-S. 7–8.

2. Belarusian folklore. Haunted. Issue 2nd dap. SklaliK.P. Kabashnika, A.S. Lis, A.S. Fyadosik, I.K. Tsischanka Minsk, “Higher School”, 1977.

3. Bel. vusna – paet. creativity: Padruchnik for students of Phil. specialist. VNU / K.P. Kabashnika, A.S. Lis, A.S. Fyadosik iinsh. – Mn.: Minsk, 20000. – 512 p.

4. Belarusians. T.7. Great creative creativity / G.A. Bartashevich, T.V. Valodzina, A.I. Gurskiiinsh. Redcal. V.M. Balyavina II; Institute of Cultural Studies, ethnography of folklore. – Mn.: Bel. Navuka, 2004.-586 p.

5. Berezhnova, L.N. Ethnopedagogy: textbook. aid for students Higher Textbook institutions / L.N. Berezhnova, I.L. Nabok, V.I. Shcheglov. – M.: Publishing house. Center "Academy", 2007. – 240 p.

6. Volkov, G.N. Ethnopedagogy: Textbook. for students 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, vol. 2, p. 970.

9. Chernyavskaya Yu.V. Belarusian: touches to a self-portrait. Ethnic self-image of Belarusians in fairy tales / Chernyavskaya Yu.V. – Mn.: “Four Quarters”, 2006. – 244 p.

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 research 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.

Nadezhda Smolyaninova
Essay “My ideas about the meaning of folklore in modern life”

We live in a difficult time of perestroika, when everyone cares about how to live a calm day. Therefore, over the years, you begin to look at many things differently, rediscover and re-evaluate something. First of all, this applies to our past, which we know very superficially. Will help restore the connection between times folklore. It is he who tells us: how people lived and worked; reveals the spiritual world of Russian people.

I didn't know anything about folklore, When "met" with him at an early age, and my grandmother contributed to this. She was the one who told me the story "Chicken Ryaba" and sang a lullaby "About the Wolf". Listening to a fairy tale every day, I quickly learned it myself. She sang a lullaby to a baby doll. And only then, twenty years later, I realized that I was only one year old then. As a teenager, I heard from my grandmother many Russian folk songs, which she used to sing in the village. Her favorite was “You, garden, you, my garden”. And also a lot of ditties and proverbs. All this knowledge was involuntarily deposited in my head for the time being. My children were born - that’s when I remembered all this good and useful stuff. Working as a teacher for almost thirty years, I constantly turned to Russian folk creativity: I collected Russian folk games, then nursery rhymes, then I painstakingly studied the life of people, their clothes, etc. All this was useful to me in my work.

Children, unlike adults, know how to rejoice with all their hearts. In moments of communication with them, being in a Russian hut in a kindergarten, you always want to tell a lot, show, explain, let them touch things made by ancient masters: a chest and a samovar, a spinning wheel and a poker, a quilt and embroidered blankets. Here we dance in circles, sing, learn and show dramatizations and scenes from the Petrushka Theater. All children, without exception, are interested.

If you want to know about the meaning of folklore in modern life, then I can answer definitely: he is needed! Every child needs it, because from contact with him the little person becomes kinder, better, smarter, learns to think adequately, compare good and evil, and do good deeds.

Folklore- this is the basis of our way of life life, he is like the air we breathe. This is something that every Russian person cannot live without.

The task of teachers of preschool and school institutions is to ensure that over the course of several years (while the child is in kindergarten and school) introduce children to Russian folklore and give them knowledge, which will later be useful to them in life.

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The highest form of art, the most talented, the most ingenious is folk art, that is, what was captured by the people, what was preserved by the people, what the people carried through a century... the people cannot preserve that art that is of no value.

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Consultation for parents “The role and place of folklore in the life of kindergarten”

Today, interest in folk art is growing everywhere. This is understandable: in it we need to look for the origins of our characters, relationships, historical roots. Adults draw children's attention to folk origins, our roots, rituals, traditions, and customs that have been forgotten for a long time. Let us recall the famous statement of M.I. Kalinin about folk art: “... the highest form of art, the most talented, the most ingenious is folk art, that is, what was captured by the people, what was preserved by the people, what the people carried through, a century ... among the people is not art that is of no value can be preserved.” Introducing children to folk culture is a means of forming patriotic feelings in them and developing spirituality. Spiritual, creative patriotism must be instilled in early childhood.

Interest and attention to folk art, including music, has recently increased even more in our country. The truly artistic and natural basis for the musical education of a child is the folklore of the people to which he belongs, as an environment in which art is organically fused with the life and worldview of people. Folk art gives children encounters with melodious and sincere melodies, with authentic, lively, bright, imaginative and affectionate native language.

Russian folklore is the soul of Russian art, Russian music. Works of folklore are priceless. They contain life itself. They are instructive in their purity and spontaneity. Acquaintance with musical folklore works always enriches and ennobles. And the sooner a person comes into contact with it, the better. Music for a child today should become just as organic, natural and necessary. Folk art is accessible and understandable to children, and therefore interesting. Childhood is a flourishing period in a person’s life. This is the time when a child is like a flower that reaches out to the sun with its petals. Young children react very sensitively to every word spoken by adults. Therefore, our task is to instill in children a love of beauty, teach them the skills of playing in a team, and develop in children such qualities as kindness, a sense of camaraderie and nobility.

The brilliant creator of language and the greatest teacher - the people created such works of artistic expression that lead through all stages of their emotional and moral development.

Children's musical folklore is a special area of ​​folk art. It includes a whole system of poetic and musical-poetic genres of folklore. Children's musical folklore carries a huge educational charge. Its entire value lies in the fact that with its help we can easily establish emotional contact and emotional communication with the child (children). A child’s first acquaintance with musical folklore begins with small folklore forms: ditties, nursery rhymes, jokes, counting rhymes, sayings, tongue twisters, songs - fables that have been created by people for centuries in the process of labor in nature, in everyday life - this is the singing of lullabies, games with nurturing. Folk music is part of a child's life from early childhood. The first music that the baby hears is the mother's song - a lullaby. They constitute his most important musical impressions. How often my mother sang them to us. The intonation is full of warmth and tenderness, peace and tranquility. There are many different lullabies.

A lullaby is the first musical and poetic information for children. And since they hear songs before bed, while falling asleep, their memory most valuablely captures and fills intonation patterns, motives, words sounding in the songs. Therefore, singing lullabies to a child is of great importance in his musical education, in the development of creative thinking, memory, and the formation of a balanced psyche. In folk lullabies, the child is often addressed by name, and this is very important for communicating with him. In my music classes, kids tenderly and tenderly sing the simplest lullabies, trying to lull bunnies, bears and dolls to sleep. These aesthetic impressions, received by them from early childhood, I hope, will remain unforgettable throughout their lives. But in order to arouse joy, motor excitement, cheerful babble in a child, pestles are used, which means to nurse, raise, carry in one’s arms. Pestushki are sung naturally and simply, maintaining the natural timbre of the voice and its warmth.

Pestushki, lullabiesplay a huge role in the spiritual development of a person, in his moral and aesthetic education. They touch the heart, feed love for their land and their people. Young children do not yet fully understand the concept of the Motherland, but we know that it is in early childhood that love for it arises. For a child, the Motherland is his mother, close relatives surrounding him. This is the house where he lives, the yard where he plays, this is the kindergarten with his teachers and friends. The formation of his consciousness and attitude towards the environment depends on what a child hears and sees from childhood. Developing feelings and character traits that invisibly connect a child with his people, I use folk songs, dances, round dances, and bright folk toys in my work. All this wealth of Russian folk art helps children learn the language of their people, their morals and customs, their character traits.

Children's musical folklore reflects various types of musical activities of the child:

• Listening is perception.
• Singing.
• Folk choreography.

I begin to introduce Russian folk songs and melodies from the younger group. These are songs such as: “Cockerel”, “Ladushki”, “Bunny”, “Sun”, “Soroka-magpie”, etc. They are for children aged from one to three years old, simple in melody and understandable in content , reflect the child’s world around him. The lyrics of the songs are very laconic, built on the repetition of one musical phrase, do not require a fast tempo, and are performed slowly, with good diction. Onomatopoeia is used to create a vivid image and evoke an emotional response in the child. Folk melodies are natural and therefore easy to perceive and memorize, and the opportunity to perform their own brings real joy to children. Folk dance and round dance music has a simple rhythmic pattern and allows you to improvise movements. Folk mobile round dancing games develop in children spatial orientation, coordination, attention, the ability to control their actions, and obey the rules of the game.

Based on my experience, I can say that familiarity with children's musical folklore develops interest and attention to the surrounding world, folk words and folk customs, and cultivates artistic taste.

The oral poetry of the people is of great social value, consisting in its cognitive, ideological, educational and aesthetic meanings, which are inextricably linked. The cognitive significance of folklore is manifested primarily in the fact that it reflects the characteristics of real life phenomena and provides extensive knowledge about the history of social relations, work and life, as well as an idea of ​​the worldview and psychology of the people, and the nature of the country. The cognitive significance of folklore is increased by the fact that the plots and images of its works usually contain broad typification and contain generalizations of life phenomena and people’s characters. Thus, the images of Ilya Muromets and Mikula Selyaninovich in Russian epics give an idea of ​​the Russian peasantry in general; one image characterizes an entire social stratum of people. The educational significance of folklore is also increased by the fact that its works not only present, but also explain pictures of life, historical events and images of heroes. Thus, epics and historical songs explain why the Russian people withstood the Mongol-Tatar yoke and emerged victorious in the struggle, they explain the meaning of the exploits of heroes and the activities of historical figures. M. Gorky said: “The true history of the working people cannot be known without knowing oral folk art.” Gorky M. Collection. cit., vol. 27, p. 311. The ideological and educational significance of folklore lies in the fact that its best works are inspired by high progressive ideas, love for the motherland, and the desire for peace. Folklore depicts heroes as defenders of the homeland and evokes a feeling of pride in them. He poetizes Russian nature - and the mighty rivers (Mother Volga, the wide Dnieper, the quiet Don), and the expansive steppes, and the wide fields - and this fosters love for it. The image of the Russian land is recreated in works of folklore. Folk art expresses the life aspirations and social views of the people, and often revolutionary sentiments. It played an important role in the people’s struggle for national and social liberation, for their socio-political and cultural development. Modern folk art contributes to the communist education of the masses. In all this, the ideological and educational significance of folk poetry is manifested. The aesthetic significance of folklore works lies in the fact that they are a wonderful art of words and are distinguished by great poetic skill, which is reflected in their construction, in the creation of images, and in language. Folklore skillfully uses fiction, fantasy, and symbolism, i.e. allegorical transfer and characterization of phenomena and their poeticization. Folklore expresses the artistic tastes of the people. The form of his works has been polished over the centuries by the work of excellent masters. Therefore, folklore develops an aesthetic sense, a sense of beauty, a sense of form, rhythm and language. Because of this, it is of great importance for the development of all types of professional art: literature, music, theater. The work of many great writers and composers is closely connected with folk poetry.

Folklore is characterized by the revelation of beauty in nature and man, the unity of aesthetic and moral principles, the combination of reality and fiction, vivid imagery and expressiveness. All this serves as an explanation why the best works of folklore provide great aesthetic pleasure. The science of folklore. The science of folklore - folkloristics - studies oral folk art, the verbal art of the masses. It poses and resolves a significant range of important questions: about the characteristics of folklore - its vital content, social nature, ideological essence, artistic originality; about its origin, development, originality at different stages of existence; about his attitude to literature and other forms of art; about the features of the creative process in it and the forms of existence of individual works; about the specifics of genres: epics, fairy tales, songs, proverbs, etc. Folklore is a complex, synthetic art; Often his works combine elements of various types of art - verbal, musical, theatrical. It is closely connected with folk life and rituals, and reflects the characteristics of various periods of history. That is why various sciences are interested in it and study it: linguistics, literary criticism, art history, ethnography, history. Each of them explores folklore in various aspects: linguistics - the verbal side, reflecting in it the history of the language and connections with dialects; literary criticism - general features of folklore and literature and their differences; art history - musical and theatrical elements; ethnography - the role of folklore in folk life and its connection with rituals; history is the expression in it of the people's understanding of historical events. Due to the uniqueness of folklore as an art, the term “folklore” has different meanings in different countries. content, and therefore the subject of folkloristics is understood differently. In some foreign countries, folkloristics deals not only with the study of the poetic, but also the musical and choreographic aspects of folk poetic works, i.e., elements of all types of arts. In our country, folkloristics is understood as the science of folk poetic creativity.

Folkloristics has its own subject of study, its own special tasks, and has developed its own research methods and techniques. However, the study of the verbal side of oral folk art is not separated from the study of its other aspects: the cooperation of the sciences of folklore, linguistics, literary criticism, art criticism, ethnography and history is very fruitful. Genera, genres and genre varieties. Folklore, like literature, is the art of words. This gives grounds for folkloristics to use concepts and terms that were developed by literary criticism, naturally applying them to the features of oral folk art. Such concepts and terms are genus, type, genre and genre variety. Both in literary criticism and in folkloristics there is still no unambiguous idea about them; researchers disagree and argue. We will adopt a working definition that we will use. Those phenomena of literature and folklore, which are called genera, genres and genre varieties, are groups of works that are similar to each other in structure, ideological and artistic principles and functions. They have developed historically and are relatively stable, changing only to a small extent and rather slowly. The difference between genera, genres and genre varieties is important for performers of works, and for their listeners, and for researchers studying folk art, since these phenomena represent meaningful forms, the emergence, development, change and death of which is an important process in history literature and folklore.

In literary and folkloristic terminology in our time, the concept and term “species” have almost gone out of use; most often they are replaced by the concept and term “genre”, although they were previously distinguished. We will also accept as a working concept “genre” - a narrower group of works than genus. In this case, by genus we will mean a way of depicting reality (epic, lyrical, dramatic), and by genre - a type of artistic form (fairy tale, song, proverb). But we have to introduce an even narrower concept - “genre variety”, which is a thematic group of works (fairy tales about animals, fairy tales, fairy tales, social and everyday tales, love songs, family songs, etc.). Even smaller groups of works can be identified. Thus, in social and everyday fairy tales there is a special group of works - satirical fairy tales. However, in order to present a general picture of the classification (distribution) of types of works of Russian folk poetry, a number of other circumstances should be taken into account: firstly, the relationship of genres to the so-called rituals (special cult actions), secondly, the relationship of the verbal text to singing and action, which is typical for some types of folklore works. Works may be associated with ritual and singing and may not be associated with them.