The emergence of folklore. What is "folklore" and why it should be studied. Folk art is a natural process. People and works of art are integral parts. Folklore as a subject of philological study Explain why it is so important

Tell me, have you ever sang a lullaby from the repertoire of Zemfira or Philip Kirkorov to your baby? That's right, it never even crossed your mind.

We sing to our children uncomplicated, such simple and such favorite songs that our mothers sang to us, and to them our grandmothers, who were sung from generation to generation, for centuries, and they have come down to us. And this is part of Russian folklore.

What values have become a priority in modern families? First of all, those who, in the opinion of young parents, will help the child survive in a difficult time in a difficult world. We often forget that there can be no harmonious personality without all-round development, and we miss its main component - emotional, moral.

The first years of life, the child lives not by reason, but by emotions, through which his first knowledge of life takes place. And it is very important how and what he hears and sees around him. The first impressions of the child are the cozy tenderness of mother's hands and her voice. A soft, unhurried lullaby, funny little dogs, when the mother plays with the baby, saying rhymes, bothering him, making him laugh and filling him with positive emotions.

Such folklore forms have been created by whole generations, are constantly replenished with new shades, they carry wisdom and great educational value.

Through children's songs, sayings, counting rhymes, the child learns the first moral concepts - empathy, kindness, responsiveness. Speaking about musical folklore, we mean not only oral song forms, it is also a characteristic rhythmic pattern of folk dance. Involving children in folk outdoor games, we teach him not only to navigate in space, move, develop coordination, but also accept the general rules of the game.

For older children who no longer only listen and remember folk songs and jokes, folklore is also of great importance in the development of their creative beginnings. Playing folk music games, children try to bring their own fantasies into the game, endowing their characters with new features or qualities.

Speaking about folk music, I would call it "natural", so harmoniously and consistently it can guide children through the stages of their development, give each of them the knowledge and concepts that they need at this particular age.

Children will be especially interested in folklore holidays that our ancestors celebrated every year, for example, Christmas, because there are so many songs, games and traditions associated with it!

To book a ticket, you must fill out registration form, but you can get to the show only by purchasing a ticket in advance (.

Price:
with advance payment – adult + child ticket - 1100 rubles, additional ticket - 550 rubles.
upon payment on the spot (subject to availability) – adult + child ticket - 1300 rubles, additional ticket - 650 rubles.

All questions by phone: 8916-2656147.

Tell me, have you ever sang a lullaby from the repertoire of Zemfira or Philip Kirkorov to your baby? That's right, it never even crossed your mind.

Such folklore forms have been created by whole generations, are constantly replenished with new shades, they carry wisdom and great educational value.

Children will be especially interested in folklore holidays that our ancestors celebrated every year, for example, Christmas, because there are so many songs, games and traditions associated with it!

To book a ticket, you must fill out registration form, but you can get to the show only by purchasing a ticket in advance (.

All questions by phone: 8916-2656147.

Literature is the art of words. But there is another type of verbal art - oral folk art (oral literature, oral literature), or folklore. Folklore has specific features that fictional literature does not have. The first chapter is devoted to their consideration.

1. Folklore and folklore

The international term "folklore" appeared in England in the middle of the 19th century. It comes from the English. folk-lore ("folk knowledge", "folk wisdom") and denotes folk spiritual culture in various volumes of its types.

Folklore is a subject of study in various sciences. Folk music is studied by musicologists, folk dances - by choreographers, rituals and other spectacular forms of folk art - by theater experts, folk arts and crafts - by art critics. Linguists, historians, psychologists, sociologists and other scientists turn to folklore. Each science sees in folklore what interests it. Especially significant is the role of ethnology (from the Greek ethnos: "people" + logos: "word, doctrine") - a science that pays much attention to folk life.

For philologists, folklore is important as the art of words. Philological folklore studies the totality of oral works of art of different genres, created by many generations of the people.

Folk verbal creativity was kept in the memory of people, in the process of communication, the works passed from one to another and were not recorded. For this reason, folklorists should engage in so-called "field work" - go on folklore expeditions to identify performers and record folklore from them. The recorded texts of oral folk works (as well as photographs, tape recordings, diary notes of collectors, etc.) are stored in folk

lore archives. Archival materials can be published, for example, in the form of folklore collections.

When a folklorist is engaged in the theoretical study of folklore, he uses both published and archived records of folk works.

2. Specificity of folklore

Folklore has its own artistic laws. The oral form of creation, distribution and existence of works is the main feature that gives rise to the specificity of folklore, causes its difference from literature.

2.1. Traditionality

Folklore is mass creativity. Works of literature have an author, works of folklore are anonymous, their author is the people. In literature there are writers and readers, in folklore there are performers and listeners.

Oral works were created according to already known models, even included direct borrowings. The speech style used constant epithets, symbols, similes and other traditional poetic means. Works with a plot were characterized by a set of typical narrative elements, their usual compositional combination. In the images of folklore characters, the typical also prevailed over the individual. The tradition demanded an ideological, orientation of works: they taught good, contained the rules of human life behavior.

Common in folklore is the main thing. Storytellers (performers of fairy tales), songwriters (performers of songs), storytellers (performers of epics), yellists (performers of lamentations) strove, first of all, to convey to the audience what corresponded to tradition. The repetition of the oral text allowed for its changes, and this allowed a talented individual to express himself. There was a repeated creative act, co-creation, in which any representative of the people could be a participant.

The development of folklore was facilitated by the most talented people endowed with artistic memory and creative gift. They were well known and appreciated by those around them (remember Ivan Turgenev's story "The Singers").

The oral art tradition was a common fund. Each person could select for himself what he needed.

In the summer of 1902 M. Gorky observed in Arzamas how two women - a maid and a cook - composed a song (the story "How they composed a song").

"It was in a quiet street of Arzamas, before evening, on a bench at the gate of the house in which I lived. The city dozed in the hot silence of June weekdays. I, sitting by the window with a book in my hands, listened to my cook, stout pockmarked Ustinya, talking quietly with the maid<...>Suddenly Ustinya says briskly but businesslike: "Well, Mangutka, give me a hint ..." - "What is this?" - "Let's add the song ..." And, with a noisy sigh, Ustinya sings quickly:

"Eh, yes, on a white day, with a clear sun,

Bright night, with a month ... "

Hesitantly feeling for the melody, the maid timidly, in an undertone sings:

"I am worried, a young girl ..."

And Ustinya confidently and very touchingly brings the melody to the end:

"All the heart toil with anguish ..."

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, the impoverishment of the child's subculture is taking place. 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 at different times and today. I saw my tasks in the following:

1. study the scientific literature on this topic;

2. to collect rhymes (in scientific literature, in the game activity of modern schoolchildren);

3. to analyze the collected material;

4. draw conclusions.

The original hypothesis was this: today, children know few counting rhymes, and most of them are meaningless. In the scientific literature, I was able to find an explanation for this. During the work, I was convinced of the correctness of the hypothesis and that the large number of developing, upbringing 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 older people.

19 people remember 3 or more counters, 2 counters - 27 people, 1 counters - 72 people.

But, unfortunately, the overwhelming majority (67% of the respondents) name, first of all, a counting rhyme that is far from the most moral character (". Took a knife out of his pocket. I will cut, I will beat."). Children heard and read author's rhymes, but they hardly use them in the game, since they do not remember them by heart (they were named only by 0.8% of the respondents). Interesting in the cognitive or moral sense counting rhymes are known by 20% of the respondents, senseless or morally uninteresting - 74%. Only 19 people have rhymes with humor. ractor (. laziness, the overwhelming majority (67% of respondents) name first of all a counting rhyme that is far from the most moral

2. The role of folklore in human life.

The magic kingdom of folk art is immense. It has been around for centuries. In oral folk poetry (or folklore, as international science calls this poetry) there are many varieties. Translated into Russian, the English word "folklore" means "folk wisdom", "folk art" - everything that has been created by the spiritual culture of the working people over the centuries of its historical life. If we read and think about our Russian folklore, we will see that it really reflected in itself a lot: its native history, and the game of folk fantasy, and funny laughter, and deep people's 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, and what character traits should be condemned and ridiculed.

Numerous varieties of Russian folklore - epics, fairy tales, proverbs, calendar choruses, riddles - all this arose, repeated, passing from mouth to mouth, from generation to generation, from father to son, from grandmothers to granddaughters. Often, performers brought something of their own into their favorite text, slightly changing individual images, details and expressions, imperceptibly honing and improving a song or a 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 life of adults and willingly borrow their experience, but repaint what they have acquired. The thought of children is associated with specific images - this is the key to the secrets of children's artistic creativity.

Folklore for children, created by adults, includes lullabies, little dogs, 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 rhymes, teasers, tongue twisters and other genres of children's folklore, which are considered to be empty fun. In fact, without these funny and funny rhymes, without the verbal play that they contain, the child will never master his native language perfectly, will never become its worthy owner, capable of expressing any thoughts, feelings and experiences.

The counting-rhymes, toss-ups, songs and sentences included in the games, together make up the game folklore.

Counting rhymes - short rhymes used to determine the leader or to assign roles in the game - are the most common genre of children's folklore.

Telling or listening to counting rhymes is a great pleasure for children. Not every child can become a good “counting reader”. 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 realizing objective justice, invented from time immemorial for children. It is as if fate itself, and not the authority of the adult (or the child ringleader), controls the distribution of roles. And if this is so, then the winning in the game with happiness and luck depends on the player himself. The child in the game must be resourceful, quick-witted, dexterous, kind and even noble. All these qualities in the child's mind, soul, character are developed by the counting rhyme.

4. The main artistic features of counting rhymes.

The counting rituals have two main features. Firstly, counting is at the heart of most counting rhymes, 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 counting?

A whole group of ancient concepts and ideas is associated with counting in humans. It can be assumed that in the old days, entrusting someone with a common task, people showed extraordinary circumspection in numbers. Will the person doing the assignment be happy or unhappy? Before hunting or any other kind of fishing, the score was decisive. A person with an unlucky number could ruin, according to the ideas of people, the whole thing. This is the purpose of the ancient recount. This function of it was retained in a residual form in children's games.

The simplest form of counting rhymes and, apparently, primordially ancient, can be recognized as "bare" counting. Because of the prohibition 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 will be no luck in the future; Russians living in Transbaikalia were prohibited from counting geese during the flight. The prohibition to count was a big inconvenience, and people came up with the so-called "negative" counting: a negative particle was added to each number: more than once, not two, etc. It turned out that there was no counting either. This is the purpose of the distorted form of the account. People also hid the drawing of lots - a recalculation necessary in the distribution of the roles of the 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 "abstruse" counting, an example of which can serve as a children's counting room.

Over time, having broken away from the prohibitions and belief in numbers, the counting-recounting 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 their previous meaning and often took on the form of pure nonsense.

Nonsense could not live long in folklore, and meaningful scattered phrases and separate words began to penetrate into the counting room. Some kind of content was intertwined 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. Children aged 5-6 are especially pleased with this due to the constant demand of adults "not to make noise." Hearing the rhythmic pattern of the counting room and obeying it is not an easy skill. It is acquired by children only in the game. The more gambling, the more desirable it is for the child to be chosen, the more sharply the children listen to the rhythm of the counting rhyme.

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

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

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

A large group of counting rhymes indicates those who will be a participant in the game. The last one left after the calculation drives.

The same type of counting rhymes includes those where there is no direct verbal indication of the driver or exit from 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 counters - the game one - is intended for both calculation and play. It is these rhymes that end with questions, assignments, instructions and other requirements.

The demands of the counting room are varied and rarely repeated. For example, in the counting room “We 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 right word or number. Then the recalculation will fall on you, and not on the other.

There are rhymes, where the winner of the 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 rhymes. They are mostly for reading, not calculating. They offer both the child and the adult an intellectual game - to recognize its folk prototype in a counting-rhyme, to catch the features of similarities and differences, the author's irony in moments of attraction and repulsion from the folklore model.

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 writing” a line himself, to predict what will happen next. And the talent of the master is for the child to make mistakes and rejoice at his mistake, because the poet came up with more interesting, witty, more fun.

What groups are counters in scientific literature divided into?

In the monograph by GS Vinogradov “Russian children's folklore. Game preludes ”, a classification of children's folklore, in particular, counting rhymes based on vocabulary, has been undertaken. Vinogradov referred to counting rhymes as verses containing counting words (“one, two, three, four, we were standing in the apartment”), “abstruse”, distorted counting words (“first-timers-friends, pigeons were flying”) and equivalents of numbers (“ anza, dwanza, three, kalynsi "). To abstruse Vinogradov attributed counting rhymes, in whole or in part, consisting of meaningless words; to replacement counting rhymes - verses that do not contain either abstruse or countable 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. Reasoning with moral meaning, educating. They teach truthfulness, kindness, discretion, and obedience.

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

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

In total, we collected 72 counting rhymes, of which 9% are counting rhymes with moral meaning, 26.5% are cognitive rhymes, 19% are meaningless, 1.5% are immoral, 31% are counting rhymes with meaning, but not teaching 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 counting 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 impoverishment of the children's subculture is taking place.

But the data we received 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 older people.

Out of 98 people, 19 people remember 3 or more counters, 27 people each, 1 - 69 people, and do not remember any of 3 people.

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

But, unfortunately, the overwhelming majority (67% of the respondents) name, first of all, a counting rhyme that is far from the most moral character (". Took a knife out of his pocket. I will cut, I will beat."). Children heard and read author's rhymes, but they hardly use them in the game, because they do not remember them by heart (they were named only by 0.8% of the respondents). Interesting in the cognitive or moral sense counting rhymes are known by 20% of the respondents, senseless or morally uninteresting - 74%. Only 19 people have rhymes with humor.

We believe that our research 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.

Several decades artistic director of the folklore theater "Radeyushka" Zinaida Popova dedicated to preserving and reviving the folklore traditions of the Russian North.

“The Soul of Russia award is a merit of the entire choir,” she said. - We are one family in which everyone supports each other. There are women in our theater who came 30 and even 40 years ago. Young people also come to us, whom we are always glad to see. In general, I believe that those who sing folklore and love folk songs will definitely grow up to be good people. "

Where are the traditions?

Anna Nechai, AiF-Arkhangelsk: Your theater performs both in Russia and abroad. Where does the viewer take better?

Zinaida Popova: Of course, in Russia the audience is better received. I remember we performed in Germany, and so the Germans all wanted to hear the translation of the songs, and were surprised that we were singing more and more about sad things. When we perform in Russia, our second half of the concert is dedicated to the fact that we sing songs with the audience. At these moments, people even cry. They lack a folk song. Judge for yourself, on TV it is often difficult to hear a song even in Russian, and not that of a folk one. I remember someone said: "When the people stop singing, then the nation disappears!" And I completely agree with that. And now people have just begun to sing less. Remember how people used to gather at the table? Be sure to start a song. It was very close and united. Now, where is this tradition? We need to revive the customs of our ancestors, return to our roots. Our Russian song is the soul of the people. Hearing it, you can imagine and understand your whole life.

- On the streets of the city, we constantly see posters of the capital's stars. Why are there no posters for "Radeyushka"?

We give big concerts twice a year, go to schools and kindergartens. We are in demand even without advertising. The only pity is that today there are no large sites for amateur performances in the city. Although, we have already been promised to provide one, it remains to wait.

By the way, we also have one more problem. So, for example, we often sing in "Malye Korely" on holidays. People come up and ask to sing songs, for example, "Victory Day", but we cannot. The Russian Authors' Society allows singing only folklore. With such prohibitions, you can stop singing altogether. And you need to do something about it.

Concerts "Radeyushka" always gather full houses. Photo: From the personal archive of Z. Popova

Fur coats instead of concerts

- Here we all talk about mass sports. And what does it take to bring culture to the masses?

First, you need to communicate with people, be closer to them. For example, it is important to perform not only on the big stage, but also in small halls, where you find yourself face to face with the audience. Previously, we had such concerts at the Marfin House, but now they sell fur coats there. It's a shame. Take the same villages. People just have nothing to do. No work, no cultural life. The clubs have very poor funding, if there are any circles, then they are paid. At the same time, there is a craving for art, for beauty, but it simply is not realized. So it turns out that people are fleeing the villages, and those who remain often just start drinking.

It is said that the most difficult times for culture were the 90s, when many lost viewers due to the fact that people overshadowed culture. Have you felt it yourself?

In fact, at any time, the viewer is drawn to the spectacle. I do not remember that we performed in front of empty halls. There have always been people at our concerts, including in the 90s. Even in remote villages, we collected halls. And many, for example, the 80s are called stagnant, and I call them "golden". How much we traveled around the country then! Almost the entire Golden Ring has been traveled. Were in Kaliningrad, Syktyvkar, Minsk, etc. And today our choir is loved and well received everywhere.

Dossier:

Zinaida Popova was born in the village of Udimsky, Kotlassky district, Arkhangelsk region. She began to take a great interest in singing and dancing since childhood. Arriving in Arkhangelsk, she entered the studio of the Northern Choir. Since 1979 he has been the artistic director of the Radeyushka folklore theater.