The value of folklore in human life. The public value of folklore. The role of folklore in the development of children

INTRODUCTION
1. Oral folk art kik art of the folk word
2. Statements of great writers and educators about the role of folklore in human life
3. Classification of folklore
4. Classification of folklore by volume: small forms
5. Large shapes
6. Conclusion
7. References
APPS

INTRODUCTION

It is generally accepted that, through oral folk art, a child not only masters his native language, but also, mastering its beauty, conciseness, joins the culture of his people, receives the first ideas about it.
Folklore is a fertile and irreplaceable source of moral education for children, since it reflects all real life with evil and good, happiness and sorrow. He opens and explains to the child the life of society and nature, the world of human feelings and relationships. Promotes the development of thinking and imagination of the child, enriches his emotions, gives excellent examples of the literary language.
In order to achieve the educational effect as much as possible with the help of oral folk art, it is important not only that it be represented by a variety of genres, but also be included as much as possible in all the life processes of the child. For example, familiarity with lullabies will help children grow up to be balanced and benevolent people.
It is very important for a child to learn the essence of moral concepts and human values ​​from childhood. In the process of development, the child is formed as a person, acquires his own character traits, features that affect a person’s behavior in life, the child develops his own worldview.
The most important task facing our society at the present time is its spiritual, moral revival, which cannot be carried out without assimilating the cultural and historical experience of the people, created over the centuries by a huge number of generations and enshrined in works of folk art. Even K.D.Ushinsky, putting forward the principle of nationality, said that "language is the most living, most abundant and strong bond that connects the obsolete, living and future generations of the people into one great, historically living whole" .
At an early age, it is very important to accelerate the “birth” of the first conscious words in a child. Small genres of folklore will help to increase the vocabulary, in which his attention is drawn to objects, animals, people.
With the help of small folklore, it is possible to solve almost all the problems of the methodology for the development of speech, and along with the main methods and techniques of speech development of younger students, this material can and should be used.
The significance of folklore is very high during the adaptation period. A well-chosen, expressively told nursery rhyme helps to establish contact and evoke positive emotions.
1. Oral folk art as the art of the folk word.

It is generally accepted that folklore is oral folk art, folk art of the word, it is also called abroad - folk knowledge or folk wisdom. Folklore is called verbal art, which includes proverbs, ditties, fairy tales, legends, myths, tongue twisters, riddles, heroic epics, epics, legends, etc.
It is known that the works of oral folk art arose in ancient times, but even today we use them, often without even suspecting and not realizing it (we sing ditties, tell jokes, read fairy tales, make riddles, say sayings, sing folk songs, repeat tongue twisters and much more).
Folk tongue twisters, songs, riddles, fairy tales, proverbs are used in their speech by adults and children, growing youth and people of senile age. But few people clearly imagine how oral-poetic folk art is born, lives and exists, and even less people are aware of the value of folklore and are familiar with its history.
No one, unfortunately, will recognize the names of those distant creators who composed wonderful fairy tales, amusing riddles, folk songs, moralizing proverbs and sayings that have been living for many centuries. The only thing we can say with certainty is that the author of folklore is an ever-living and developing poet, whose name is people. It is to the people that we owe the preservation and improvement of all the folk treasures of poetry.
So, living outside of time, passing from ancestors to descendants, from one storyteller, poet, singer to another, folklore works are enriched with features of the modern worldview, new features of everyday life. In our time, already updated ancient fairy tales continue to live, and along with them there are (and always have been) new songs, anecdotes, proverbs, riddles, etc.
2. Statements of great writers about the role of folklore in human life...

Conclusion

Living outside of time, passing from ancestors to descendants, from one storyteller, poet, singer to another, folklore works are enriched with features of the modern worldview, new features of everyday life. In our time, already updated ancient fairy tales continue to live, and along with them there are (and always have been) new songs, anecdotes, stories, charms, proverbs, riddles, etc.
The living connection between literature and folklore is confirmed by the work of the best writers of all peoples. But no matter how palpable the connection between the works of writers and folk poetry in the conditions of a class society, collective and individual creativity is always distinguished by the method of creating works of art.
The presented classification is the most common among researchers. However, it should be understood that the types of Russian folklore complement each other, and sometimes do not fit into the generally accepted classification. Therefore, when studying the issue, a simplified version is most often used, where only 2 groups of genres are distinguished - ritual and non-ritual folklore.
We see that most scientists classify proverbs, sayings, riddles, and tongue twisters as minor genres of folklore, but otherwise their opinions differ.
It can be understood that, unlike small forms, the following large works belong to large forms of folklore: fairy tales, legends, epics, historical songs, lyrical songs, ballads, ditties.
BIBLIOGRAPHY

1. Anikin V.P. Textbook for universities. - 2nd ed., corrected. and add. - M .: Higher School, 2004. - 735 p.
2. Zueva T.V., Kirdan B.P. Russian folklore. Textbook for higher educational institutions - M.: Flinta: Science, 2002. - 400 p.
3. Zueva T.V., Kirdan B.P. Russian folklore, 2003, pp.141-143
4. Efremov A.L. Formation of personality in the conditions of an amateur team. - St. Petersburg, 2004. - 107 p.
5. Karpukhin I.E. Oral folk art, 2005,
6. Usova A.P. Russian folk art in kindergarten. -M.: Enlightenment, 1972. -78s.
7. Ushinsky K.D. Fav. ped. cit.: In 2 vols. - M., 1974. - T. 1. - S. 166
8. Ushinsky, K.D. Human education / K.D. Ushinsky; comp. S.F. Egorov. - M.: Karapuz, 2000. - 255 p.

The oral poetic creativity of the people is of great social value, consisting in its cognitive, ideological, educational and aesthetic values, which are inextricably linked. The cognitive significance of folklore is manifested primarily in the fact that it reflects the features of the phenomena of real life 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, about 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 a broad typification, contain generalizations of the phenomena of life and the characters of people. Thus, the images of Ilya Muromets and Mikula Selyaninovich in Russian epics give an idea of ​​the Russian peasantry in general, one image characterizes a whole social stratum of people. The cognitive value 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. So, epics and historical songs explain why the Russian people withstood the Mongol-Tatar yoke and emerged victorious in the struggle, explain the meaning of the exploits of the heroes and the activities of historical figures. M. Gorky said: “The true history of the working people cannot be known without knowing the oral folk art" Gorky M. Sobr. cit., vol. 27, p. 311. The ideological and educational significance of folklore lies in the fact that its best works are inspired by lofty progressive ideas, love for the motherland, striving for peace. Folklore depicts heroes as defenders of the motherland and evokes a feeling of pride in them. He poeticizes Russian nature - and the mighty rivers (Mother Volga, the wide Dnieper, the quiet Don), and the steppes, and the wide fields - and this brings up love for her. The image of the Russian land is recreated in the 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. Contemporary folk art contributes to the communist education of the masses. In all this, the ideological and educational significance of folk poetic creativity is manifested. The aesthetic significance of folklore works lies in the fact that they are a wonderful art of the word, they are distinguished by great poetic skill, which is reflected in their construction, and in the creation of images, and in language. Folklore skillfully uses fiction, fantasy, as well as symbolism, i.e. allegorical transmission and characterization of phenomena and their poeticization. Folklore expresses the artistic tastes of the people. The form of his works has been polished for 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 disclosure of beauty in nature and man, the unity of aesthetic and moral principles, the combination of real and fiction, vivid depiction and expressiveness. All this explains why the best works of folklore deliver 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 solves a significant range of important questions: about the peculiarities 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 in his works elements of various types of art are combined - verbal, musical, theatrical. It is closely connected with folk life and rituals, reflecting the features of various periods of history. That is why he is interested in and studied by various sciences: linguistics, literary criticism, art criticism, ethnography, history. Each of them explores folklore in various aspects: linguistics - the verbal side, the reflection in it of the history of the language and connections with dialects; literary criticism - common 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. In connection with the originality of folklore as an art, the term "folklore" in different countries is invested in different ways. content, and therefore the subject of folklore is understood differently. In some foreign countries, folkloristics is engaged not only in the study of the poetic, but also in the musical and choreographic aspects of folk poetic works, i.e., elements of all types of arts. In our country, folklore is understood as the science of folk poetry.

Folkloristics has its own subject of study, its own special tasks, its own methods and methods of research have been developed. However, the study of the verbal side of oral folk art is not separated from the study of its other sides: 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 the word. This gives folklore a basis to use the concepts and terms that have been developed by literary criticism, naturally applying them to the features of oral folk art. Genus, species, genre and genre variety serve as such concepts and terms. Both in literary criticism and in folklore there is still no unambiguous idea about them; researchers disagree and argue. We will adopt a working definition, which 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 slightly and rather slowly. The difference between genera, genres and genre varieties is important both for performers of works, and for their listeners, and for researchers studying folk art, since these phenomena are meaningful forms, the emergence, development, change and death of which is an important process in history. literature and folklore.

In literary and folklore terminology, in our time, the concept and term "view" have almost gone out of use; most often they are replaced by the concept and the 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 gender we will understand the way of depicting reality (epic, lyrical, dramatic), by genre - the 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 (tales about animals, fairy tales, social fairy tales, love songs, family songs, etc.). Even smaller groups of works can be distinguished. So, in social 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 the types of works of Russian folk poetry, one should take into account a number of other circumstances: firstly, the relation of genres to the so-called rites (special cult actions), secondly, the relation of the verbal text to singing and action, which is typical for some types of folklore works. Works may or may not be associated with ritual and singing.

In the 5th grade we studied children's folklore. I became interested in lullabies and wrote a scientific paper about them. Another genre of folklore that caught my attention is counting rhymes. In the modern world, children know few counting rhymes, there is an impoverishment of the children's subculture. 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 the scientific literature on the topic;

2. collect counting rhymes (in scientific literature, in the gaming activities of modern schoolchildren);

3. to analyze the collected material;

4. draw conclusions.

The original hypothesis was that children these days know few rhymes, and most of them are meaningless. I was able to find an explanation for this in the scientific literature. During the work, I was convinced of the correctness of the hypothesis and that a large number of developing, educating rhymes created by children's authors are not known to children and are not used in games.

In my work, I used the following methods:

1. analysis, synthesis of the collected material;

2. observation of the games of primary school students;

3. survey of respondents.

A total of 118 people were interviewed, including 20 young children, 58 people aged 7-8, 25 people aged 9-10, 10 people aged 13-15, and 5 people older.

19 people remember 3 or more counting rhymes, 27 people remember 2 rhymes, 72 people remember 1 rhyme.

But, unfortunately, the vast majority (67% of respondents) first of all name a 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 author's rhymes, but they almost never use them in the game, because they do not remember them by heart (only 0.8% of the respondents named them). Interesting in the cognitive or moral sense, rhymes are known to 20% of the respondents, meaningless or morally not interesting - 74%. Only 19 people have counting rhymes with humor. raktera (. leniation, the vast majority (67% of respondents) first of all name a rhyme that is far from being the most moral

2. The role of folklore in human life.

The magical realm of folk art is boundless. It has been built up over centuries. There are a lot of 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, think about our Russian folklore, we will see that it really reflected a lot in itself: both our native history, and the play of folk fantasy, and cheerful laughter, and deep folk thoughts about human life. People thought about how to improve their lives, how to fight for a happy lot, what a good person should be like, and what character traits should be condemned and ridiculed.

Numerous varieties of Russian folklore - epics, fairy tales, proverbs, calendar chants, riddles - all this arose, repeated, passing from mouth to mouth, from generation to generation, from father to son, from grandmothers to granddaughters. Often, the performers added something of their own to the text they liked, slightly changing individual images, details and expressions, imperceptibly honing and improving the song or fairy tale created before them.

3. Children's folklore. His 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 repaint what they have acquired. The thought of children is connected with specific images - this is the key to the secrets of children's artistic creativity.

Folklore for children, created by adults, includes lullabies, pestles, nursery rhymes, jokes, 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 considered to be empty fun. In fact, without these cheerful and funny rhymes, without the verbal game that they contain, the child will never master his native language perfectly, will never become its worthy master, able to express any thoughts, feelings and experiences.

Rhymes, draws, songs and sentences included in the games together make up the game folklore.

Rhymes - short rhymes used to determine the leader or the distribution of roles in the game - 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, be sure to be honest.

The fact is that counting rhymes are a way of implementing objective justice, invented for children from time immemorial. As if fate itself, and not the authority of an adult (or a ringleader-child), manages the distribution of roles. And if this is so, then winning the game with happiness and luck depends on the player himself. A child in the game must be resourceful, quick-witted, dexterous, kind and even noble. All these qualities in the children's mind, soul, character are developed by a rhyme.

4. The main artistic features of counting rhymes.

The counters have two main features. Firstly, most counting rhymes are based on counting, and secondly, counting rhymes amaze with a heap of meaningless words and consonances. Why did people need a distorted form of words and what was hidden under the habit of using a mysterious account?

A whole group of ancient concepts and ideas is associated with the account of people. It can be assumed that in the old days, when entrusting someone with a common task, people showed extraordinary discretion in numbers. Will the person who carries out the task be happy or unhappy? Before hunting or other fishing, the score decided a lot. A person with an unlucky number could ruin, according to people, the whole thing. This is the purpose of the ancient reckoning. This function of his was preserved in a residual form in children's games.

The simplest form of counting rhymes and, apparently, primordially ancient, can be recognized as a “bare” account. Because of the ban on counting, people had to use conditional forms when counting. So, the inhabitants of the Irkutsk province were forbidden to count the killed game, otherwise there would be no luck in the future; Russians living in Transbaikalia were forbidden to count geese during the flight. The ban on counting was a great inconvenience, and people came up with the so-called “negative” count: a negative particle was added to each numeral: more than once, not twice, etc. It turned out that there was no count. This is the purpose of the distorted form of the account. People also hid the drawing of lots - the recalculation necessary for the distribution of the roles of participants in the fishery. The recount - the prototype of the newest forms of counting rhymes - was given a conditional verbal form that was understandable to the people of this group. This is the origin of the "abstruse" account, an example of which is the children's rhyme.

Over time, breaking away from prohibitions and faith in numbers, the counting rhyme 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 conditional 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 disparate phrases, separate words began to penetrate into the counting rhyme. Some content was woven from the words, and soon “plot” provisions appeared.

One of the main features of counting rhymes is a clear rhythm, the ability to shout all the words separately. For children aged 5-6 years, this is a particular pleasure due to the constant requirement of adults to “keep quiet”. Hearing the rhythmic pattern of a counting rhyme and obeying it is not an easy skill. It is acquired by children only in the game. The more reckless the game, the more desirable it is for the child to be elected, the more acutely the children listen to the rhythm of the counting rhyme.

This whole cheerful rhyme is built on onomatopoeia - another feature of counting rhymes. Remember the counting rhyme "Aty-bats, there were soldiers." Its clear rhythm resembles the step of a soldier's company.

5. Classification by content, artistic features, moral meaning.

The most common type of folk rhyme is intended directly for calculating the players. If you need to determine who drives when playing hide-and-seek or tag, then they think so.

A large group of counting rhymes indicates those who will participate in the game. The last one remaining after the calculation leads.

This type of counting rhymes includes those where there is no direct verbal indication of the driver or the way out of the calculation. It is replaced by the last expressive word. In this group, meaningless counting rhymes stand out, with an absurd plot and sound combination.

The next group of counting rhymes - game - is intended both for calculation and for the game. It is these counting rhymes that end with questions, tasks, instructions and other requirements.

The requirements of the rhyme are varied and rarely repeated. For example, in the counting 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 started from, quickly count your place in the circle and shout out the right word or number. Then the re-calculation will have to be on you, and not on another.

There are counting rhymes where the winner by calculation gives his right to leave the circle to a friend, and he himself remains for new tests.

I would like to pay special attention to literary author's counting rhymes. They are intended mostly for reading, not for calculation. They offer both the child and the adult an intellectual game - to recognize in the counting rhyme its folk prototype, to catch the similarities and differences, the author's irony at the moments of attraction and repulsion from the folklore sample.

The author's rhyme is always action-packed, dynamic, full of bright pictures replacing each other and this reminds of a nursery rhyme. The task of the poet is to captivate the child with action so much that he wants to “finish” the line himself, to predict what will happen next. And the talent of the master is to make the child make mistakes and rejoice at his mistake, because the poet came up with something more interesting, witty, more fun.

What groups are counting rhymes in the scientific literature divided into?

In the monograph by G. S. Vinogradov “Russian children's folklore. Playing Preludes” a classification of children's folklore, in particular, rhymes based on vocabulary, was undertaken. Vinogradov attributed to counting rhymes verses containing counting words (“one, two, three, four, we stood in the apartment”), “abstruse”, distorted counting words (“primary-drugins, pigeons flew”) and equivalents of numerals (“ anzy, dvanzy, three, kalynzy"). To the abstruse Vinogradov attributed the counting rhymes, wholly or partially consisting of meaningless words; to substitution counting rhymes - verses that do not contain either abstruse or counting words.

This classification remains relevant to this day.

The material collected by us allows us to make additions to this classification.

In terms of content, we found the following groups:

1. Rhymes with moral meaning, educating. They teach truthfulness, kindness, caution, and obedience.

2. Cognitive rhymes that broaden your horizons. From them, the child receives knowledge about the world around him, about its inhabitants, nature, phenomena.

3. Unfortunately, we also had to deal with counting rhymes, where obscene vocabulary is found.

In total, we collected 72 rhymes, of which 9% are rhymes with moral meaning, 26.5% are cognitive 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.

Getting started, we assumed that the modern typical 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 there is an impoverishment of the children's subculture.

But the data obtained literally surprised us. A total of 118 people were interviewed, including 20 young children, 58 people aged 7-8, 25 people aged 9-10, 10 people aged 13-15, and 5 people older.

Of the 98 people, 19 people remember 3 or more counters, 27 people remember 2 counters, 69 people remember 1, and 3 people do not remember a single one.

It turned out that people of the older generation remember the counting rhymes most of all (they played more), as well as younger schoolchildren, because for them it is a living genre.

But, unfortunately, the vast majority (67% of respondents) first of all name a 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 author's rhymes, but they almost never use them in the game, because they do not remember them by heart (only 0.8% of the respondents named them). Interesting in the cognitive or moral sense, rhymes are known to 20% of the respondents, meaningless or morally not interesting - 74%. Only 19 people have counting rhymes with humor.

We believe that our study allows us to draw conclusions about the insufficient attention of educators to joint children's games, to the promotion of the best folklore and author's rhymes among young children.

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

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

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

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

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

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

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

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A moral, spiritually rich person... A lot of books, articles, debates are devoted to this topic.

Modern life is changing rapidly. We can barely keep up with the frantic rhythm of everyday affairs and problems. Unfortunately, morals and the style of relationships between people are changing. And, perhaps, the biggest problem of the present time is the decline of the spirituality and morality of the younger generation.

The most crucial period in the life of any person is preschool age. It is here that all the basic concepts and foundations for the further development of the personality are laid. For a child, it is important that he not only be protected and supported, but also shown where to go, what to strive for. One cannot but agree with V.A. Sukhomlinsky, when he said: “The one who led the child by the hand in childhood, what entered his mind and heart, depends to a decisive extent on what kind of person today's baby will become. Such an ideal-guideline for a child is always an adult: parents, teachers.

Everything starts small: from love and compassion for a bird, respect for a flower - to respect, caring attitude towards your relatives, elders, and, ultimately, devotion to your homeland.

Each nation has its own cultural traditions that must be passed on and respected like a treasure from generation to generation.

The upbringing of children is easier to carry out through introducing them to folk sources.

Russian folklore is deeply patriotic. How important it is now in social instability.

It is through folklore that children get an idea of ​​the main life values: family, work, respect for society, love for the small and large Motherland.

Children's folklore is a specific area of ​​folk art that unites the world of children and the world of adults, including a whole system of poetic and musical-poetic genres of folklore.

In my pedagogical activity, I define the main task - to educate the personality of the child, to form his cultural needs.

More specifically, this problem can be formulated as follows:

To instill love for the native land, respect for the traditions of their people, for working people;

To cultivate respectful attitude in communication with other children and adults;

To teach to understand the role of the family, one's role in the family, to educate the future owner (hostess), husband (wife).

This can be more successfully done through introducing children to folk culture. Raising children on folk traditions, you can develop their national identity, respect for their people. Again, it is appropriate to recall the words of V.A. Sukhomlinsky, that the main way to educate universal human qualities is to introduce the child to their national culture, which is based on vast life experience, wisdom, which were passed down from generation to generation, including in art form.

Folklore is the most fertile ground for the upbringing and development of spiritual and moral qualities in a child's personality.

A preschooler with great interest studies the world around him. But recently, teachers and parents have increasingly noted with concern the problems of communication among preschoolers. Children cannot maintain contact, do not know how to coordinate their actions with communication partners or adequately express sympathy, empathy, therefore they often conflict with them or withdraw into themselves. At the same time, sociability, the ability to communicate with other people is a necessary component of a person's self-realization. The formation of this ability is one of the main tasks of preparing him for life together.

Communication is carried out not only with the help of words, but also non-verbal means: a whole system of non-verbal signals, external bodily movements. This includes facial expressions, gestures, intonations of the voice, posture, etc. All of the above is the language of expressive movements. Many children today require special communication training. At preschool age, this is very successfully carried out through the game - the main institution for the education and development of the culture of a preschooler.

In my teaching activities, I base myself on the following principles:

1. Systematic and consistent.

2. Cultural conformity (upbringing is based on universal cultural values.

3. Integration (synthesis of various activities).

4. Natural conformity and availability of the material.

5. Visibility (allowances, attributes of folk life).

A.M. Gorky wrote: “A child under the age of ten demands fun, and his demands are biologically legitimate. He wants to play, he plays with everyone and learns the world around him first of all and most easily in the game, with the game. This demand for fun predetermined the playful beginning of all genres of children's folklore. If a particular genre is not associated with the child's play actions, then the game is played at the level of meaning, concept, word, sound. The famous Soviet psychologist B.M. Teplov says that the involvement of children (and not only gifted ones) in creative activity is "very useful for the general artistic development, it is quite natural for the child and fully meets his needs and abilities."

According to the rules of folk pedagogy, in order to bring up a physically healthy, cheerful and inquisitive person, joyful emotions must be maintained in the child. The main purpose of small forms of folklore, which young children get acquainted with, is to prepare the child for the knowledge of the world around him in the process of play, which will soon become an indispensable school of physical and mental pedagogy, moral and aesthetic education.

The first acquaintance of children with folklore begins with small forms: nursery rhymes, jokes, pestles. With their help, we instill in children the skills of correct, literate speech, emotionally colored (“Ladushki”, “Magpie”, “Hare”, etc.).

At an older age, in music classes, children get acquainted with jokes. A joke is a funny little story or funny expression that amuses children. They are accompanied by certain game actions, for example “Goat”:

- There is a horned goat

- For the little guys.

- Who does not eat porridge, does not drink milk,

- Togo will gore.

In middle preschool age, I begin to acquaint children with Russian folk songs. Children's songs are very diverse in content, musical structure and character of performance. Through some songs, children get acquainted with various life and natural phenomena (autumn, spring round dances), other songs carry fun, play and are more beloved by children, for example, “Grandma Yozhka”.

The song is a more complex folklore genre. The main purpose of the song is to instill love for beauty, to cultivate aesthetic taste. Modern physiologists and psychologists have unequivocally proved the beneficial effect of good music, and especially folk music, on the physical and mental state of a person, a child. We often perform folk songs with children in a round dance, playing with various movements. Having learned the song, we invite children to creatively improvise in movements - “as the soul asks”. Children are always happy to pick it up.

At the senior preschool age I introduce the genre of ditties. This genre is very popular with children. Through a ditty, children learn to understand a joke, humor. The performance is often accompanied by playing folk instruments: rattles, spoons, etc. Acquaintance with oral folk art is also carried out through a fairy tale, proverbs, sayings, riddles. Through a fairy tale, children learn the moral laws of the people, examples of the true behavior of a person. Through fabulous images, the child absorbs ideas about the beauty of the human soul. Through proverbs, children learn the collective opinion of the people about different aspects of life: “If you like to ride, love to carry sleds”, “Business is time, fun is an hour”. Riddles are very popular with children. They develop the thinking of preschool children, teach them to analyze various phenomena, objects from different areas of the surrounding reality. (Soft paws, and scratches in the paws. Cat).

Another important genre of folklore is the game. Children's play is one of the greatest achievements of the people. The games reflect national traits, the way of life of the people, their worldview, social life.

We must remember that folk games as a genre of oral, musical folk art are national wealth, and we must make them the property of our children. In a fun way, children get acquainted with the customs, life of the Russian people, work, respect for nature.

The child lives with feelings that emotionally colors his life. This is an important factor in the development of the child's aesthetic sense. In the game, his mind, feelings, ability to be creative are formed. The game develops the ability to moral and ethical assessments of oneself and others, aesthetic tastes, preferences.

We plan to hold folklore holidays according to the folk calendar. In autumn - "Kuzminki", "Sinichkin's holiday", "Cabbage gatherings", in winter - "Pancake week", in spring - "Meeting of birds", "Easter", "Red Hill". For example, the holiday “Meeting the Birds” is anticipated by a lot of work to get acquainted with the birds of the native land. In classes and holidays we use folk instruments: whistles (ocarinas) of various shapes and sounds, with the help of whistles, children learn to imitate the singing of various birds: cuckoo, sparrow, nightingale, etc., rattles, spoons, etc.

All work with children on the study of musical folklore leads children to classes in a folklore circle. Children dress up in folk costumes, kokoshniks. No holiday is complete without games where children learn to communicate with each other. During the game, respect, reaction, patience, dexterity, resourcefulness develop. Through the game, children get acquainted with the life and customs of the Russian people (“Nikonorikha”, “Like our Dunya”, “Merry weaver”). Often, parents are directly involved in musical folklore holidays. So, we celebrate Mother's Day as a folklore holiday. Folklore classes are not limited to preschool institutions. Every year we take part in various competitions, festivals, where children win prizes.

Musical folklore is a unique phenomenon. Music, word and movement are inextricably linked in it. The combination of these elements is the great power of pedagogical influence. Folklore is unique in that it contributes to the development of the child's creativity, revealing the best qualities of his personality. Folk games should take place in a preschool institution. We must remember that folk games as a genre of oral, musical folk art are national wealth, and we must make them the property of our children. In a fun way, children get acquainted with the customs, life of the Russian people, work, respect for nature.

Bright, poetic, imbued with kindness and love for all living things, Russian folk songs and games help to sow seeds in the child's soul that will later grow with the desire to create, not destroy; decorate, not make life on earth ugly. Singing combined with dance and play is a very exciting activity that allows not only to have fun and usefully spend time, but also to take the child into an extraordinary world of kindness, joy, and creativity.

As a result of our work, we see how children become kinder, more attentive to each other, which is also noted by parents.

Interest in children's folklore is growing every year. The study of the artistic features of individual genres is extremely necessary.

Children's folklore is a valuable means of educating a person who harmoniously combines spiritual wealth, moral purity and physical perfection.

The development of folk culture is not reduced to the sum of learned works, but involves the creation of an atmosphere in which these works can arise and exist, when folk wisdom penetrates deeply into the consciousness, habits of a person and becomes part of his life.

Folk art is a storehouse, an inexhaustible spring that brings all of us, and especially children, kindness, love, helps to form an interesting personality of a child - a citizen of Russia, a patriot.

Bibliography

1. “I give my heart to children”, Sukhomlinsky V.A., publishing house “Radyanska school”, 1974.
2. “Russian children's folklore”, M.N. Melnikov, “Rus.yaz. or T." - M.: Enlightenment, 1987.
3. “Folk culture and traditions” Kosareva V.N., Volgograd, publishing house “Teacher”, 2011.
4. “Moral and aesthetic education in kindergarten”, ed. Vetlugina N.A., Kazakova T.G., M., 1989.
5. “Psychological issues of artistic education” No. 11, - “News of the APN of the RSFSR”, 1947.