Folklore traditions of the Vologda region
Job item: Vologda region, Cherepovets district, Voskresenskoye village (Erga).
Collector: Khramtsova N.Yu.
Introduction
2 Calendar rituals (egg spell)
3 Family rituals (memorial poems)
4 Folk prose (fairy tales)
Conclusion
Bibliography
Introduction
I conducted my folklore practice in the village of Voskresenskoye, Cherepovets district, Vologda region.
Erga (Voskresenskoye) is a large modern village located forty kilometers from Cherepovets on the road to Kirillov. Previously, it was the center of the Petrinevskaya-1 volost of the Cherepovets district of the Novgorod province. The first mention of Erga dates back to the beginning of the 16th century. The charter of Grand Duke Vasily Ivanovich speaks of the repair of the Yamskaya hut and a section of the road: “... from Ergolsky Yamu to Nadporozhsky Yamu, the roads were cleaned and bridges along rivers and swamps and through mud were repaired...” Among the crafts, pottery became the most widespread. Wonderful toys were also made in Erga.
Wonderful people live in this village, they gladly responded to my request to tell me local folklore. I presented the most interesting material in my report. I would like to note that in this village there are no speakers of folklore songs; they only know traditional nicknames and carols.
1 Fight
The first person I met was
Golubev Leonid Alexandrovich 1930 birth, he told me about male traditions - fighting.
Fighting as one of the types of traditional hand-to-hand combat has not yet attracted the attention of researchers involved in the study of martial arts. In their opinion, a fight is a “dump” that does not have its own laws and obligations. The materials obtained by the expeditions indicate the opposite - the actions accompanying the fight are strictly organized and subject to certain rules.
The organization of all the elements associated with a fight manifests itself most clearly in youth street festivities held on patronal and spring holidays. The holiday brings together young people from all the surrounding villages. And it is these meetings that can be accompanied by clashes, which, as a rule, end in bloodshed. Leonid Alekseevich said that a holiday without a murdered person is not a holiday. And since the fights were associated with spring festivities, it can be assumed that the spilled blood ensured the fertility of the land. Therefore, death in a fight was considered honorable and was not feared.
Fights took place between groups of youth. The party, or as it is also called, “shatya,” consists of unmarried guys from one village. It is led by an ataman. He was not necessarily distinguished by physical strength, but was distinguished by desperation, courage and intelligence. Usually he walked ahead of the party with a group of cocky guys - “troublers”. They walked with hooligan ditties and a special dance in which they jumped up, “cut” the ground with jackets or iron canes, and hit it with knives. Golubev L.A. This is how he remembers it: “Here you go, this is passion! What kind of timid guys will we meet, because they can chicken out right away, and now they will spoil and cut everyone up.” Of particular importance, according to him, was the song: “You kill a pisny as you sing a pisny!” Behind the troublemakers are the fighters, or, as they were called, “trouble guys.” Closing the walking party are girls holding hands. A row of girls is a kind of “border” separating “our” space, already conquered by the guys ahead, from the “alien” space that still has to be passed through and conquered.
The accordion player organizes the entire movement. We can say that without an accordionist the gang does not exist. Before meeting with the other party, the accordion player plays a tune “for the passage”. When the meeting takes place, he switches to a sharper and faster game, which is called “Hooligan”. This game is of particular importance, as it raises the morale of the children.
When “Hooliganskaya” starts playing, the troublemakers begin to “grunt” - make a special frightening sound - and sing bullying songs. For example:
When they first meet, the parties pass each other. If one of them was able to intimidate the other with her songs and the battle dance of the troublemakers, the fight might not have started. If both gangs are confident in themselves, then they turn around at the ends of the street and converge again, already ready for battle.
At the second meeting, the troublemakers tease and touch each other in order to “start” a fight. The signal for its beginning could be a blow to the accordion with a knife or stake, although this is considered a prohibited technique. The accordion is inviolable in a fight, just like the girl. Therefore, more often than not, the fight began with someone hitting one of the most cocky troublemakers.
Those who are weaker enter the battle first. If they cannot win, that is, drive the opposing party, the “bad boys” intervene in the fight. If the outcome is predetermined, the fighters may not participate in the fight. They fought mainly with canes (iron rods bent at one end), weights tied to a belt, brass knuckles, and could be dismantled into stakes and the nearest fence. Each guy had a knife with him, but, as a rule, it was not used in a fight. More often than not, the knife served as a means of intimidating the enemy before a fight.
Girls and children helped the boys of their village. They brought stones, dragged away and bandaged the wounded. According to the unwritten laws of fighting, girls, children and those fighting who fell could not be beaten.
After the fight, the behavior of each member of the gang was discussed. Anyone who ran away from the battle was punished - they could be beaten or expelled from the party, and they would not take him with them to the next party.
So why was the fight necessary?
She fostered male fighting spirit and the need to defend their land, the border of which was represented by a row of girls standing behind the fighters. This is probably where the expression of our soldiers came from: “Russia is wide, but there is nowhere to retreat!”
And the gang forced them to submit to strict combat discipline. Therefore, each village, if necessary, could organize its own detachment, which included its entire male population. In the event of an enemy attack, these detachments acted harmoniously to fight.
2 Calendar rituals (egg spell)
Belova Anna Kirillovna born 1911 She spoke very interestingly about the calendar rite of spring - the egg spell. Spring, according to Anna Kirillovna, was seen off on the Egg Charity, which fell on the Sunday before Peter's Fast, a week after Trinity. To do this, they performed a series of actions that constituted a rite of farewell to spring.
In the morning on this day they walked around as mummers. According to recollections, it was mostly women who dressed up. They dressed as “gypsies”, “beggars”, “priest”, “old man and old woman”, “Zimogorians”. Anna Kirillovna Belova says: “They went around as mummers, so they could wear them into rags, and when they got into good clothes: wide sundresses, with borams, and an apron of sorts, and a big jacket - they’d also let them out like that, up to their ass, - there’s the old woman, and a black scarf under he'll tie his lip." In these villages they also dressed up for the winter holidays. As in winter, during the Egg Spell, the mummers covered their faces with a scarf or towel, and later with tulle. Facelessness is a typical feature of mummers. “Gypsy”, “beggar”, “zimogor” are connected with the “other” world, with the idea of the road.
The mummers went from house to house, asking. "We went to every house with a basket or a bucket. Some asked for milk, some for cottage cheese, some for meat. They asked for soup "By going around the houses, the mummers united the entire village.
A special role was assigned to unmarried youth on this day. In the morning, the guys went around with baskets to houses where there were girls and collected eggs. " In Zagovenye the boys collected the eggs. We went to houses, especially where there were girls, and so: “Natalya, give me two. Two eggs from you - two girls.” . For this, the guys gave the girls gifts to the Kuzmodemyansk fair and rode horses to Maslenitsa. I was told that eggs are needed It was necessary to give it to the guys, otherwise they wouldn’t invite them to lunch during conversations.
Having collected the eggs, the guys went into the forest, where the girls cooked scrambled eggs over a fire from the eggs brought by the guys, and they all ate them together. At this time, the entire adult population of the village gathers around the fires, where they dine on what they collected while going around the houses.
In folk culture, the egg is a symbol of nascent life. It can be assumed that gifting the guys with eggs had an agrarian and economic significance: the guys would be the main participants in the sowing work, and the power of nascent life should be transmitted to the earth through them. In addition, eggs are a funeral food; people believed that ancestors could somehow influence the future harvest. It is necessary to say about the family and everyday magical meaning of this action. It could symbolize future married life. Girls and boys also ate scrambled eggs; perhaps the joint meal symbolized the unification of unmarried youth. Scrambled eggs were a must-have dish during spring festivities from Easter to the egg plot.
Another egg-related activity is rolling eggs on lawns. It also has agricultural and magical significance.
The culmination of the holiday came in the evening, when round dances began. To do this, they gathered in a certain place, mainly on the hills, where they held round dances every Sunday from Easter to Peter's Order. Round dances were performed holding handkerchiefs or tree branches. The round dance, according to informants' descriptions, moved towards the river or towards sunrise. I’ll give you Anna Kirillovna’s memories: “ We went to a caravan. Since lunch, well, maybe around five or something. The invaders are fighting each other - a big caravan, and so they go, and they go, they go forward, they advance - the Kruzhatians. They held hands like this. The Kovos have handkerchiefs, the Kovovichkas are real-life: they’ll pick bird cherry trees and take them "Round dances were performed only by women; they united the female population of a village or even several villages." And the little ones were captured, and they went with old women, and with grandmothers, and with mothers. The big girls walk ahead and sing. Only women, not even boys went ."
The round dances at the river ended. According to information received from our informants, upon reaching the river, the girls washed themselves, washing off the “storms” from their faces. A bath in the river ended the farewell of spring to the Egg Plot.
3 Family rituals (memorial poems)
Kolesova Lidiya Andreevna born 1924 drew me into the world of memorial poems, which made a great impression on me, and I decided to present them in this work.
Funeral verses or psalms are spiritual verses. Conventionally, spiritual verses are divided into “senior” and “younger”, “younger” received their name only from the time of creation (created in recent centuries). It is to the “younger” spiritual verses that funeral verses belong.
Spiritual poems are works of folk poetry of a religious nature, performed in a non-liturgical situation. This means that, despite the Christian themes and ideas of spiritual poems, they cannot be performed in church, during services, this is poetry for home use only.
Spiritual poetry arose in Rus' a very long time ago: some scientists, based on book sources, attribute their appearance to the 15th century, others believe that they appeared several centuries earlier. Spiritual poems appeared as an intermediary between book Christian and oral folk culture. Such an intermediary was needed, since the gap between these forms of culture in Ancient Rus' was very significant. Spiritual poems interacted with folk and church art. In the process of their oral existence, they were influenced by epics, ritual and historical songs, and they themselves influenced them. The poems were distributed almost everywhere in the territory of Russian settlement, and now the tradition of their performance has not completely died out. All this allows us to say that spiritual poems do not represent an isolated circle of works in folklore, although in their seriousness, sublimity of content and execution they are opposed to most sections of oral folk art. On the one hand, they reflect popular superstitions, and on the other, they reflect moral values.
The reason for the creation of “younger” poems was the church schism in the 50s - 70s of the 17th century, but this was the work of a relatively small part of the population, stubbornly preserving “ancient piety.”
"There are especially many poems by the Old Believers, who reflected in this poetic form both their dramatic history and reflections common to folk Orthodoxy about life and death, about the sinful soul and its posthumous fate. "The poems teach how to live correctly, and they say that one must keep in the mind there is mortal memory,” writes S.E. Nikitina. In the Old Believer world, knowledge of spiritual verses, especially new ones, was mandatory for everyone, since they participated in prayers, where the verses were sung by the choir.
The poems I wrote down also used to exist in the Old Believer community. “These are not church poems, Old Believers. Old Believers lived here, the whole village was Old Believers. All the relatives here were Old Believers. There were few church members, but Old Believers,”- says the performer of these poems. They are called "psalms" or "verses". Five subjects of poems were recorded, common to all performers. All performers have the same tune. Poems were mainly in written form: they were kept in notebooks, copied, sung from notebooks, although the performers knew them by heart. Lidia Andreevna Kolesova sang poems from memory, but at the same time, “to be sure,” she held a notebook in front of her. The written existence of the “younger” poems also explains the presence in them of Church Slavonicisms, (vine - bed, you don’t call - you don’t call, zlato - gold, cold - cold (lack of consonance is characteristic of the Church Slavonic language), me - me, ti - you), which almost are not found in “older” spiritual verses, since they were disseminated orally and were more susceptible to the influence of living speech.
The poems are composed in the syllabic-tonic system of versification (the same number of syllables and stresses in lines or pairs of lines). By the end of the 19th century, the poems of the Old Believers were already fully based on the established literary norm of versification with the syllabic-tonic principle of construction. The melody of the verses, associated with popular folk songs of the late 19th and early 20th centuries, is the same for all performers.
When asked about the creation of these poems, the performer replies: then “the rich people used to be smart people, they wrote things, and then they were all exiled.”
Although the poems were created relatively recently, the form of lyrical monologue in which they are constructed and which is generally characteristic of “younger” poems was given by “older” spiritual poems, for example, “The Lamentation of Joseph”, “The Lamentation of the Earth”.
The main themes of the verses are repentance and a person’s response to his life, a person’s ideas about life and death. The poems reflect traditional beliefs and ideas that have survived to this day. For example, an idea of the next world:
Don't expect trouble or misfortune there,
There is no sadness
All soul-passions will go out,
There is only joy and peace.
There is a holy monastery there,
And joyful peace
There is no sadness, no sighs,
No bitter tears are shed there,
There is no constraint, no groaning,
Only joy flows.
· about life in this world:
I am a stranger in this world.
· about a person’s responsibility for his life:
In a low hut
The lamp is on.
Poor old lady
Lying near death.
Cries and sobs
About your sins.
laments bitterly
Oh, so many of them.
She ruined herself
Lived in sins all my life
· about marriage:
Don't ruin yourself, girl,
Don't double braid.
Images and symbols typical of folklore:
· river, sea, as a symbol of life: “I will swim across life”, “drowning in the sea of life”
· girl - “winged birdie”.
The theme of the poems is related to the circumstances of their performance. Poems are an integral part of the funeral rite, although earlier they were sung at prayer services.
The poems were sung, and are still sung, at dinners hosted by the relatives of the deceased on memorial days. “We had dinners on memorial days, and sang prayers.” “On the ninth, fortieth day it was necessary to collect lunches exactly on these days; a year could be two or three days apart.” For this purpose, knowledgeable old women were specially invited to dinners. “Our old ladies all prayed for the dead.”
Dinners began with prayer, then everyone sat down at the table, the obligatory dish of which was jelly. “The jelly was the last dish at the funeral.” “The jelly was cooked: cranberry, rye, oatmeal.” On the fortieth day they cooked kutya. “Kutya used to be made from wheat, now from rice with raisins and honey.”
Kutya was placed on the table in a common dish . “Kutya was placed in a common dish.”
“Whoever came to pray and did not eat anything took three spoons of kutya.”
After lunch they began to sing poetry. There is no strict sequence in the singing of verses, but all performers note that the verse “A century passes unnoticed” should be sung first.
Basically, all performers time the singing of poems only for memorial days and name days of the deceased, but there is information that they were also sung on the day of the funeral , “two hours before the body is taken out,” “we take everything out in an hour, so at 11 o’clock they started singing, and before that the women were all wailing.”
Before performing the verse, the performers crossed themselves with the words : “Lord have mercy, in the name of the father and the son and the holy spirit.” At the end of the verse they said: "Amen to the holy spirit." In the "younger" verses, the last word is often "Amen", which means truly, truly. This word is from the church lexicon and the indicated meaning is not always realized, so it takes on the role of a sacred final spell.
I would also like to note that all the performers sang the poems willingly, with obvious desire, and offered to sing them themselves. As they sang, their faces became stern and internally composed themselves.
Now the poems are no longer perceived as belonging only to the Old Believers: “these are church poems,” “not only among the Old Believers, and you can sing them in church, it’s all divine.”
4 Folk prose (fairy tales)
My work ended while visiting Alexandra Vasilievna Marenkova, born in 1927.
I wrote down some wonderful fairy tales from her. Alexandra Vasilievna surprised me by saying that before, fairy tales were told mainly by men, and the audience was not only and not so much children, but, again, the male population.
The fairy tale occupied and entertained, this was due to the nature of peasant work and the way of life. When fishing, hunting, or at the mill, a good storyteller was held in high esteem. A skilled storyteller brightened up the long winter evenings.
Now the situation in the existence of fairy tales has changed. Grandmothers tell them to their grandchildren and great-grandchildren when they put their children to bed. Usually these are tales about animals, adapted for children's perception. I printed the tale in its raw form. But this is precisely its charm, and we can read the processed texts in numerous collections.
About a girl - a witch.
Once upon a time there lived a man and a woman. They had a son. A young handsome boy. He went to a biseda and there he liked one girl. He fell in love with this girl and began to go every evening, from another village he went to this girl from village to village. Here you go. Then one evening came, this girl was not there. He found out where she lived, he went to her house there, before there were no curtains on the windows, he came up and looked: she was already collecting the child for the bead. This is her little room, the mirror is on the table. Suddenly she takes off her head, puts it on the table and combs out her braid, combs it well, braids it, that’s it. Then she took this head and put it on herself again. I got dressed, put on the dress, looked in the mirror, turned around - everything was fine.
This guy had already gone ahead of her to the bise. Previously, there were biseds, they gathered. This guy came and sat and thought. He no longer approaches her, does not sit next to her. So I sat and sat here and went home early. “She,” she says, “I don’t need a girl like that anymore, don’t. She’s not some simple one.” Well, the second evening he didn’t come at all. She came there and looked: he was gone. Well, she also went home from the biseda. I came home, lay down and got sick. She got sick, she was sick for a week or two, and then she said to her father: “Well, let that guy (even Ivan) let me die, so let him take me and bury me alone.” Okay, what should we do? She got sick, she got sick, then she died, the father comes to that guy and says: “Ivan, here you are,” he says, “bury the girl (even Marya), here’s Maria, she died, she told you to bury " Well, he says: “What should I do? Since she told me to bury me, I need to take it, she says, bury it.” But he thought about it, he knew that it was not so simple, he thought: “What should I do, what should I do? How can I get her to the cemetery?” But the cemetery was far away, we had to go through the forest.
Well, there used to be more sorcerers there, so he found such an old woman, came and told her, told everything, how he met the girl, how he walked with her, how he later saw that she had taken off her head and put her clothes back on, So I didn’t go to her, she got sick and died, and asked me to bury her. The grandmother says: “Yes, son, it’s a difficult matter, but you told your father to make a stronger coffin and put six hoops on this coffin.” Well, he came to his father and said: “Listen, dad, make me an oak coffin and put six hoops on this coffin, then I’ll take it.” “Okay, okay, it will be done.”
So he made an oak coffin for him, and then they put him in this coffin. “And give me a horse that is stronger.” Well, they tied up the horse, which was stronger, and then they carried it out: “Well, now go and bury it.” So he went to bury her.
I rode and rode, the horse was so bad, the horse was so foamy and moving, it was tired - it was hard to carry. He drives into the forest, as soon as the coffin on the wood begins to move, he enters like a rider, only one of the hoops bursts. Here. Frightened Ivan, let's quickly praise the horse, the horse is running, and the horse is exhausted from running. Well, then the second hoop burst. “Yeah, it looks bad,” Ivan. Well, let’s go and brag about the horse, the horse is snoring all over, he can barely move these logs with the coffin. The third hoop has burst, oh, Ivan’s soul is sinking into his heels, and the forest: its peaks are curling towards the sky. Then, the horse, wow, got to his feet, wow, the horse, wow, the little horse was already exhausting the strength of the citizen, then, like a coffin, he began to move much more, only two hoops burst, one was left behind. Here. So Ivan got to his feet and let the horse tail, tail, boast, the horse ran away, gathered all its strength, and Ivanushko looked around the tree, jumped off the tree and climbed onto the tree. The horse chuckled that there was no rider, ran, ran and stopped.
He looks: the honey mushroom hoop is the last to burst, the lid opens from the coffin, this girl comes out, looks - Ivanushka is gone. Here. And then she just fell on the road and turned into a fox. Now the fox has turned, let’s sniff where he went, follow the trail. She sniffed and sniffed and found this Ivanushka. I went up to this Christmas tree and let my teeth gnaw on this Christmas tree. Here he is gnawing on this tree, gnawing, Ivanushko’s spirit is leaving his heels, there is a fighter there. And before, the mail was taken to the horse farm, and he hears a bell ringing somewhere, and the fir tree begins to gnaw, it’s about to gnaw it. Well, Ivanushko collected all the prayers there so that the mail would arrive soon.
And this fox heard that the post office was coming nearby, ran up to the coffin again, fell on the road and became a girl again, this girl, and lay down again in the coffin and the lid closed. All. Well, the horses used to carry mail in troikas and in pairs, the post horses ride up, Ivanushko gets off the tree and says: “Guys, save me, don’t run away, let’s take this girl, like this and like that.” " He told everything, and now the men took pity on him, turned their horses and: “Well, what should we do?” he said, “we’ll be late with the mail, but we need to help you out.” And so they took her to the cemetery. They moved out there, dug a grave and buried her and left her there. This Ivanushka came, then went to the church, stayed in the church, did the whole ritual and that’s it. This is how Ivanushko began to live and live.
Conclusion
Having plunged into the world of folklore, I was convinced from my own experience of its richness and diversity. I was also impressed by how rich the cultural and spiritual life of the northerners was. It truly is a great treasury of the spirit and soul of all the peoples inhabiting this region rich in natural resources and historical and cultural monuments.
Without a grain of doubt, we can say that folklore and folk traditions must be passed on from generation to generation, because, having lost our origins (history), we will be cut off from the past, and, as we know, it is impossible to build the future without knowing the past.
Bibliography:
1. Folk traditions of the Cherepovets region in records of 1999: Calendar holidays and rituals. Funeral - memorial rites / Comp. A.V.Kulev, S.R. Balakshina. - Vologda: Regional Scientific and Methodological Center of Culture, 2000
2. V.Ya. Propp. Russian agricultural holidays. St. Petersburg: Terra - Azbuka, 1995.
3. I.P. Sakharov. Tales of the Russian people: Folk calendar. - M.: Sov. Russia, 1990
4. Nikitina O.E. “The verse must be sung important and touchingly” // Living Antiquity No. 3, 1994
5. Spiritual poems / Inst article by F.M. Selivanova. M.: Sov. Russia, 1991
6. Vinogradov G.N. History of the Cherepovets region. Belozersk, 1925. P. 27.
Acts Arch. Exp. T. 1. No. 156. - Quote By: Vinogradov G.N. History of the Cherepovets region. Belozersk, 1925. P. 27.
SCIENTIFIC EVENTS
International scientific conference “Poetics of Russian literature. Problems of studying genres"
This conference, like others that preceded it with the same general name (only the subtitles change), was dedicated to Yuri Vladimirovich Mann. And that’s why it also has an unofficial name: “Mann Readings.” This year they were fifth. In addition, the conference is one of those that are dedicated to anniversaries (associated with preparation for them). This means that in addition to the usual tasks of this type of scientific event, it also “pursues” a special goal: to collect articles for the anniversary collection.
This is where I will begin: the general level of the reports, in my opinion, is such that it is impossible to fit everything that certainly deserves it into a collection of generally accepted size. Thank God that we (the faculty) also have a magazine. We publish a number of reports that examined the fate of genres in the literature of the twentieth century. Naturally, in such a situation, any attempts to “adequately and objectively” convey the content of the reports (37 of them were read in 3 days) are doomed to failure. I can only say what was most interesting for me personally - how much I was able to catch and understand what I heard and in the order in which it was perceived (and, unfortunately, I was not able to hear everything; also, I am not able to professionally review all the reports and evaluate).
N.T. Rymar (Samara) spoke about the poetics of memory, that is, about what are the inevitable discrepancies between any event of the past, which
which enters the horizon of the rememberer, and by the act of re-creating this event in the story about it. IN AND. Tyupe, it seems to me, was the first to define the genre structure of a “poem in prose”: as a dynamic relationship between narration and anarrativity. A. Skubaczewska-Pniewska (Toruń) described an unusual type of “metanovel” - a novel written by a literary critic who seeks to scientifically reflect the structure he creates as a writer. O.L. Dovgy (Moscow) showed, firstly, that the literary personality of Count Khvostov is largely the result of his own efforts (he provoked parodies of himself, playing, so to speak, “giveaway”); and secondly, how many and still unnoticed responses to this author were there in contemporary poetry (in particular and especially in Pushkin). A.A. Faustov (Voronezh) examined the fragmentary structures in Tyutchev’s lyrics in the light of the theoretical problems of this special (non-canonical) genre: as a result, both some of the poet’s texts and some of Yu.N.’s judgments were re-read. Tynyanova about him. V.Sh. Krivonos (Samara) introduced the audience to his brilliant interpretation of “The Tale of Captain Kopeikin” as a self-parody mirror image of the structure of “Dead Souls”. V.G. Shchukin (Krakow) identified the genre functions of the window as a special locus and artistic image in Russian literature of the 19th-20th centuries. Finally, L.I. Sazonova (Moscow) dedicated her performance to the figurative poems of Ivan Velichkovsky (early 18th century), which she deciphered and included in the context of Russian baroque poetry.
I hope that the reader will at least get an idea of the diversity of the material, as well as the themes and approaches to it, as well as the genuine originality of some of the presentations. In order to understand the general nature and scientific level of the conference, they are quite representative. One can only regret that our students did not show any noticeable interest in this scientific meeting. This partly explains
It depends, of course, on the end of the semester - tests, coursework, etc. But only partly. I would, of course, like to know the opinion of our students themselves about the place of such events in their lives. The magazine exists for them, and not only as an object of attention. It is my belief that only when they realize this fact will the magazine really take off. Wait and see.
- DESCRIPTION OF TECHNIQUES AND TECHNIQUES USED IN THE TEACHING EXPERIENCE PRESENTED.
The methodology uses methods developed in didactics. The method of speech development is defined as a way of activity of the teacher and children, ensuring the formation of speech skills and abilities.
There are three groups of methods - visual, verbal and practical. This division is very arbitrary, since there is no sharp boundary between them. Visual methods are accompanied by words, and verbal methods use visual techniques. Practical methods are also associated with both words and visual material. The classification of some methods and techniques as visual, others as verbal or practical depends on the predominance of visibility, words or actions as the source and basis of the statement.
Visual methodsare used more often in kindergarten. Both direct and indirect methods are used.
TO directThe observation method and its varieties include:
Verbal methodsin kindergarten they are used less often: this is reading and telling works of fiction, memorizing, retelling, generalizing conversation, telling without relying on visual material. All verbal methods use visual techniques: showing objects, toys, paintings, looking at illustrations, since the age characteristics of young children and the nature of the word itself require visualization.
Practical methodsaimed at using speech skills and abilities and improving them. Practical methods include various didactic games, dramatization games, dramatizations, didactic exercises, plastic sketches, round dance games (Appendix No. 5). They are used to solve all speech problems.
Methodological techniques for speech development are traditionally divided into three main groups:verbal, visual and playful.
Widely usedverbal techniques.These include speech pattern, repeated speaking, explanation, instructions, assessment of children's speech, question.
Speech sample - correct, pre-thought-out speech activity of the teacher, intended for imitation by children and their orientation. The sample must be accessible in content and form. It is pronounced clearly, loudly and slowly. Since the model is given for imitation, it is presented before the children begin their speech activity. But sometimes, especially in older groups, a model can be used after children’s speech, but it will not serve for imitation, but for comparison and correction. The sample is used to solve all problems. It is especially important in younger groups.
Repeated recitation- deliberate, repeated repetition of the same speech element (sound, word, phrase) for the purpose of memorizing it. In practice, different repetition options are used: behind the teacher, behind other children, joint repetition of the teacher and children, choral repetition. It is important that repetition is offered to children in the context of an activity that interests them.
Explanation - revealing the essence of certain phenomena or methods of action. Widely used to reveal the meanings of words, to explain the rules and actions in didactic games, as well as in the process of observing and examining objects.
Directions - explaining to children the method of action to achieve a certain result. There are instructional, organizational and disciplinary instructions.
Assessment of children's speech- a motivated judgment about a child’s speech utterance, characterizing the quality of speech activity. The assessment should not only be of a stating nature, but also educational. It is given so that all children can be guided by it in their statements. Assessment has a great emotional impact on children. It is necessary to take into account individual and age characteristics, ensure that it increases the child’s speech activity, interest in speech activity, and organizes his behavior. To do this, the assessment primarily emphasizes the positive qualities of speech, and speech defects are corrected using a sample and other methodological techniques.
Question - verbal appeal requiring a response. Questions are divided into main and auxiliary. The main ones can be ascertaining (reproductive) - “who? What? Which? which? Where? How? Where?" and search ones, requiring the establishment of connections and relationships between phenomena - “why? For what? how are they similar? Auxiliary questions can be leading and suggestive.
Visual techniques- display of illustrative material, showing the position of the organs of articulation when teaching correct sound pronunciation.
Gaming techniques can be verbal and visual. They arouse the child’s interest in activities, enrich the motives of speech, create a positive emotional background for the learning process and thereby increase children’s speech activity and the effectiveness of classes. Game techniques meet the age characteristics of children and therefore occupy an important place in speech development classes in kindergarten.
Familiarizing children with oral folk art and everyday use of it both in routine moments and in play activities develops the child’s oral speech, his fantasy and imagination, influences spiritual development, and teaches certain moral standards.
Children's folklore gives us the opportunity to introduce him to folk poetry at the early stages of a child's life.
With the help of small forms of folklore, it is possible to solve almost all problems in the methodology of speech development, therefore, along with the basic techniques and means of speech development of preschoolers, I use this rich material of the verbal creativity of the people.
Children begin to be introduced to lullabies at an early age, which allows children to memorize words and forms of words, phrases, and master the lexical and grammatical aspects of speech.
Nursery rhymes, rhymes, and chants are rich material for the development of sound culture of speech (Appendix No. 6). By developing a sense of rhythm and rhyme, we prepare the child for further perception of poetic speech and form his intonation expressiveness.
Riddles enrich children's vocabulary due to the polysemy of words, help them see the secondary meanings of words, and form ideas about their figurative meaning. They help children learn the sound and grammatical structure of Russian speech, forcing them to focus on the linguistic form and analyze it. Solving riddles develops preschoolers' ability to analyze and generalize.
To solve all the listed problems of children's speech development, I have selected and compiled a card index of games based on children's folklore.
Russian folk round dance games attracted my attention not only as a huge potential for the physical development of a child, but also as a genre of oral folk art. The folklore material contained in the games contributes to the emotionally positive acquisition of native speech. Children play outdoor games with great pleasure, desire and interest.
I have noted that in the process of introducing children to mobile and finger games, not only speech is formed, but also fine motor skills of the hands and fingers are developed, which prepares the child’s hand for writing, makes it possible to improvise, to combine words with action. And most importantly, the level of development of children’s speech is directly dependent on the degree of formation of fine movements of the hands and fingers.
Based on folklore works, I compiled a complex of hardening gymnastics after naps for children of primary preschool age, which is used every day to strengthen and preserve the health of children and maintain interest in physical exercise.
I consider various leisure activities, quizzes and entertainment to be one of the effective forms of working with children on speech development (Appendix No. 7). In accordance with this, she developed a cycle of entertainment of an artistic and aesthetic cycle.
I have prepared consultations on this topic for parents and teachers, reflecting current issues of child speech development in preschool educational institutions and families.
She made tabletop theaters: “Masha and the Bear”, “Teremok”, “Swan Geese”, “Kolobok” and theaters on flannelgraph: “Three Bears”, “Zayushkina’s Hut”, “Turnip”, “Ryaba Hen” (Appendix No. 8 ).
I compiled a card index of Russian folk games: “Cucumber-Cucumber”, “Lark”, “Sea Figure”, “Duck and Drake”, “At the Bear in the Forest”, “Bridge”
Together with the parents, the group collected a children's library of Russian folk tales and conducted a number of consultations (Appendix No. 9).
Diagnostics for the section of the program showed the effectiveness of the work I was implementing to familiarize children with oral folk art (Appendix No. 10).
There is an increase in the number of children with a level above average by 20%; compliance of the level of speech development with age norms is observed in 78% of children in the group (Appendix No. 11).
In the section “Development of vocabulary” the positive dynamics was 9.4%, in the section “Development of coherent speech” - by 9.5%, there are no children with a low level.
I am sure that folklore effectively develops a child’s oral speech and influences his spiritual, aesthetic and emotional development.
Thus, introducing a child to folk culture should begin from early childhood. Folklore is a unique means for transmitting folk wisdom and educating children at the initial stage of their development. Children's creativity is based on imitation, which serves as an important factor in the development of the child and his speech. Gradually, children develop an internal readiness for a deeper perception of works of Russian folk literature, their vocabulary is enriched and expanded, and the ability to master their native speech.
In my future work, I will effectively use and introduce all types and forms of children's folklore, Russian folk games, reading and telling fairy tales.
- RELEVANCE OF PEDAGOGICAL EXPERIENCE.
Russian teacher K.D. Ushinsky believed that the first educator is the people, and folk tales are the first and brilliant attempts to create folk pedagogy.
These words turn out to be extremely relevant at the present time, a time of “massive attack” on the culture, history, and language of all large and small peoples of Russia without exception. Changes in the economic and social spheres of life require the preparation of the younger generation, capable of adapting to a changing environment, able to make decisions, make independent choices, take initiative, and possessing a sufficiently high level of general and national culture. Only thinking, creative individuals are capable of achieving the development of the country, its movement along the path of progress. Children perceive folklore works well thanks to their gentle humor, unobtrusive didacticism and familiar life situations.Psychologists and methodologists note that a child learns his native language, first of all, by imitating the spoken speech of others (D.B. Elkonin, R.E.Levina, A.P. Usov, E.I. Tikheeva, etc.). Unfortunately, parents nowadays, due to difficult social conditions and being too busy, often forget about this and leave the process of their child’s speech development to chance. The child spends more time at the computer than in a live environment. As a result, works of folk art (lullabies, pesters, nursery rhymes) are practically not used even at a young age, not to mention children of five to six years old. Butworks of Russian folk art, through a special form of expressing the attitude to the perceived reality, through rich themes and content, have a diverse impact on the child, teach them to think figuratively, to see the unusual in an ordinary object or phenomenon, lay the foundations of aesthetic culture, form respect for the results of the activities of many generations and the ability to creatively apply the experience gained in non-standard situations. Under the influence of various genres of oral folk art, the moral and aesthetic development of children occurs, various moral qualities and concepts of norms of behavior in the family and society are formed, and the foundations are laid for the development of patriotic feelings in preschoolers.
Based on this, I came to the conclusion that one of the most important tasks in the development of the personality of a preschool child is his mastery of the spiritual wealth of the people, their cultural and historical experience created over the centuries by a huge number of previous generations.
Children perceive folklore works well thanks to their gentle humor, unobtrusive didacticism and familiar life situations.
Oral folk art is the invaluable wealth of every nation, a view on life, society, nature developed over centuries, an indicator of its abilities and talent. Through oral folk art, a child not only masters his native language, but also, mastering its beauty and brevity, becomes familiar with the culture of his people and gets his first impressions about it.
Why do our children speak poorly? Maybe because we have forgotten how to talk to them. When communicating with their children, parents rarely use sayings and proverbs, but they are the essence of resolving any conflict.
Oral folk art has an amazing ability to awaken a good beginning in people. The use of oral folk art in working with children creates unique conditions for the development of children’s speech, thinking, behavioral motivation, and accumulation of positive moral experience in interpersonal relationships.
The absence of epithets, comparisons, figurative expressions impoverishes, simplifies speech, turns it into inexpressive, boring, monotonous and unpleasant. Without brightness and colorfulness, speech fades and becomes dull.
One of the effective means of educating such a person and his full development is oral folk art.
The possibility of using oral folk art in a preschool institution for the development of speech of preschool children is determined by the specific content and forms of works of verbal creativity of the Russian people, the nature of familiarity with them and the speech development of preschool children.
3.3. SCIENCE IN THE TEACHING EXPERIENCE PROVIDED.
In Art. 14 of the Law “On Education” of the Russian Federation states that the content of education should ensure the integration of the individual into national and world culture.
Folklore can be an excellent help in implementing these tasks. The poetry of Russian folklore accompanies many folk traditions, which reveal the highly moral, free spirit of Russia.
According to A.P. Usova “verbal Russian folk art contains poetic values.” Its influence on the development of children's speech is undeniable. With the help of small forms of folklore, it is possible to solve almost all problems in the methodology of speech development, and along with the basic methods and techniques of speech development, this rich material of verbal creativity of the people can and should be used.
Folk nursery rhymes and pestushki are excellent speech material that can be used to develop the speech of preschool children. With their help, phonemic hearing develops, as they use sound combinations - tunes, which are repeated several times at different tempos, with different intonations, and are performed to the tune of folk melodies. All this allows the child to first feel and then realize the beauty of his native language, its brevity, and is introduced to precisely this form of expressing his own thoughts.
The sonority, rhythm, melodiousness, and entertaining nature of nursery rhymes attracts children, makes them want to repeat and remember, which, in turn, contributes to the development of spoken language.
D. B. Elkonin in one of his works notes that rhyme and rhythm are the basis for memorizing various words and phrases and nursery rhymes in preschool age. He argued that when repeating words and phrases, the object of the child’s consciousness is not the meaning and their meaning, but the sound composition and rhythmic structure. It is convenient to carry out such repetition using small folklore forms.
By developing a sense of rhythm and rhyme, we prepare the child for further perception of poetic speech and form the intonational expressiveness of his speech.
So, with the help of small forms of folklore, children learn to express one or another intonation: grief, tenderness and affection, surprise, warning.
If small folklore forms are selected taking into account the age capabilities of children and systematic work is organized, they are understandable to children.
Thus, works of folklore are priceless. Oral folk art contains inexhaustible opportunities for awakening a child’s cognitive activity, independence, and bright individuality, and for the development of speech skills. Folk songs, nursery rhymes, nursery rhymes, jokes - all this is excellent speech material that can be used in all types of activities.
- PERFORMANCE OF TEACHING EXPERIENCE.
As a result of the work done, children have developed an internal readiness for a deeper perception of works of Russian folk literature, their vocabulary has been enriched and expanded, and the ability to master their native speech.
- NOVELTY OF THE PEDAGOGICAL EXPERIENCE PROVIDED.
The novelty of the experience lies in the improvement of the application of methods: planning thematic days, the use of small folklore forms in various types of activities: gaming, educational, during walks, morning exercises, work, routine moments.The work used non-traditional forms and methods: stimulating children to use small folklore forms, creating situations that encourage creative actions.
As a result, this served as the basis for the development of children's speech. Children's speech has become more expressive, emotional, varied, and their vocabulary has increased.
A technology for multimedia support of the educational process has been developed and is being implemented.
A system has been developed for organizing advisory methodological support in the field of mastering modern communication technologies by teachers and applying them in the educational practice of preschool educational institutions (Appendix No. 12);
A base of training and development cycles is being created: programs, didactic and methodological materials based on the introduction of information technologies in the activities of preschool educational institutions;
The main emphasis of the activity approach is on systemic changes in the process of cooperation between children and adults in the educational space of preschool educational institutions and families.
In the context of creating an effective educational space in accordance with the Federal State Educational Standard in the general education program of a preschool educational institution, one of the priority areas of activity is to improve the system of interaction between children and adults in the educational process in accordance with the requirements of the Federal State Educational Standard (integration of educational areas).
- THE POSSIBILITY OF CREATIVE APPLICATION OF THE PEDAGOGICAL EXPERIENCE PRESENTED.
The opportunity to creatively apply this work experience includes a wide range of educational areas for its implementation:
Cognitive and speech development:
Reading fiction helps familiarize children with the history and traditions of the Russian people and Cossacks;
Conducting conversations, examining, memorizing proverbs, sayings, nursery rhymes, jokes;
Acquaintance with folk and family traditions, signs;
Folk and family holidays and customs (registration of impressions received in the form of albums, panels).
Conducting GCD in a non-traditional form (Appendix No. 13)
Social and communicative development:
Instilling love and respect for family members, friends, adults;
Develop table manners skills;
Development of communication culture skills, behavior, education of kindness;
Learn to love yourself and others;
Show the importance of family in a person’s life;
Conversations with children about how they are loved, cared for, and mutual giving.
Artistic and aesthetic development:
Organization of competitions and exhibitions of children's creativity;
Directing, didactic and plot games, theatrical performances using folklore;
In fine art, use Russian folk and Kuban elements, paintings, and ornaments;
Holidays. Entertainment in kindergarten and family in order to develop strengthening connections between generations.
Physical development:
Organization of Kuban and Russian folk outdoor games;
The use of folklore when carrying out routine moments with children (instilling cultural and hygienic skills (eating, dressing, going to bed, etc.)
Come up with your own games, game options;
Organizing sports events together with parents.
Using these various forms of work, as well as quizzes, educational games, interviews, analysis of creative children's works, independent activities and games of children, I achieved maximum results in introducing children to cultural and historical traditions.
- DESCRIPTION OF THE MAIN ELEMENTS OF THE TEACHING EXPERIENCE PROVIDED.
Summarizing the practice of implementing software, we can name the following main elements that make up this complex process: familiarizing teachers with software, explaining the advantages of recommended innovations compared to conventional methods of work; demonstration in action of methods and techniques of work to be implemented; practical training of teachers in the use of recommended methods and techniques (school of PPE, seminars, workshops; decision of the Council of teachers of preschool educational institutions, production meeting with recommendations on the implementation of PPE; monitoring the implementation of decisions, providing the necessary assistance in overcoming difficulties that have arisen.
- CONCLUSIONS
Oral folk art is a pure and eternal source. It has a beneficial effect on children, promotes children’s speech development, equips them with knowledge, “brings to children the beauty and richness of their native language.” It comes from the soul, and the people’s soul is kind and beautiful. By introducing children to folklore, I introduce children to their native culture, help them enter the world of beauty, teach them to see and feel unique speech patterns, awaken the need to love and enjoy life. Contact with oral folk art enriches the child, fosters pride in their people, and maintains interest in their history and culture. Experiencing the beauty of the Russian language, the child experiences positive emotions, on the basis of which deeper feelings arise: joy, admiration, delight. Figurative ideas, thinking, and imagination are formed. All this arouses in children a desire for creativity: dramatizing and composing new fairy tales, riddles, which awaken and develop their creative activity, form aesthetic feelings, enrich their vocabulary, and develop coherent speech. Children develop a variety of abilities - both creative and intellectual.
In our turbulent times, full of contradictions and anxieties, when the words “violence,” immorality, and lack of spirituality have become commonplace, we seriously think about how today’s preschoolers will grow up. Will we get in their person a “lost generation” that has no moral values?
What should we, teachers, do to prevent this from happening?
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Creative report summarizing experience on the topic:
“Folk art as one of the means of educating a harmoniously developed personality.”
Teacher Alexandrova N.F.
Creative report plan
- Folk art, one of the means of educating a harmonious personality: page 2
a) is folk art accessible to children?
b) native nature is the main source of folk art.
- Folk music: page 6 page 4
a) song richness;
b) folk dances;
c) folklore festivals, concerts.
- Fine folk art: page 8
a) independent artistic activity;
b) decorative modeling;
c) decorative applique;
d) decorative drawing.
- The richness of the native language, its influence on the child: p. 13
a) riddles;
b) tongue twisters;
c) fairy tales.
V. A fairy tale is a means of moral development of a child. p.17
a) imagery as an important feature of fairy tales;
B) development of creative abilities, development of speech and personality of a preschooler in fairy tale therapy.
I. In our turbulent times, full of contradictions and anxieties, when the words “violence,” immorality, and lack of spirituality have become commonplace, we seriously think about how today’s preschoolers will grow up. Will we get in their person a “lost generation” that has no moral values?
What should we, teachers, do to prevent this from happening?
Maybe we can protect our children from the complexities of the world around us, create our own soft environment for them. Or, on the contrary, “let them hear and see everything that is happening around, and maybe even toughen up”?
I think the solution is to teach children kindness, patience, and the ability to help others from a very early age, i.e. to cultivate in them those moral qualities that many adults today lack.
They say that if there is kindness, sensitivity, integrity, then a person has succeeded. The question is how, by what methods, to cultivate morality in them. The solution came naturally to introduce children to Russian folk art, in all its breadth and diversity, and to educate them on the history of our people. This will allow our children to feel part of the Russian people, to feel pride in their country, rich in glorious traditions.
Each nation has its own language, its own songs and tales, music and dances; your artistic skill; your way of life and traditions.
Russian folk art has a centuries-old history of development. Folk art is designed to decorate and ennoble the world around us.
Folk art is one of the means of aesthetic education, helps to form artistic taste, teaches us to see and understand the beauty in the life around us and in art. That is why I chose this topic as a priority in my work.
The first years of a child’s life are an important stage in his upbringing. During this period, those feelings and character traits begin to develop that invisibly connect him with his people, his country and largely determine the subsequent path of life. The roots of this influence are in the language of his people, in his songs, music, games and toys with which he amuses himself, impressions of the nature of his native land, work, life, morals and customs of the people among whom he lives. At each stage of education there is its own circle of images, emotions, ideas, habits that are transmitted to the child, assimilated by him and which become close to him, almost irreplaceable. The Motherland appears before him in images, sounds, colors, and feelings, and the brighter and more vivid these images are, the more influence they have on him.
a) I also took this topic because Russian folk art is most accessible to children. Folk games and toys brilliantly combined artistic and pedagogical principles. The children's world appears in them in all the enchanting charm of its plans and interests.
Oral folk art is a real treasury of folk wisdom, full of images and apt comparisons, and most importantly, extremely rich in examples of the language of the people. Song, music, dance convey the harmony of sounds, melody, rhythm of movements, which express the character traits of the people, the breadth of their soul.
Modeling, carving, embroidery and other types of fine art convey the taste, sense of form, color, image that the people have; skills in making artistic objects.
A child’s very first acquaintance with folk art occurs from the first days of life, when he hears a lullaby. Later, the world of fairy tales and games becomes available to the child. The richness and diversity of nature, the work and life of the Russian people determined the originality and originality, the amazing freshness and brightness of folk art.
b) In my work, I give a special place to introducing children to the nature of their native land, an inexhaustible source for folk art. The feeling of the wind, the sun, the smell of the earth, forest, sea - this is a whole world of experiences. In the summer, it’s great to run barefoot in the mushroom rain, the children jump out into the street with me, stretch out their hands to the sky, asking the rain not to stop with a cheerful chant:
Rain, rain, more
We'll give you the grounds
We'll give you a spoon
Sip a little.
And in winter, children rejoice in the snow, there is no limit to their delight, we played snowballs and organized competitions: who makes the most snowballs, who gets the most, we built snowmen. They experimented with snow and ice: the snow melted on the palms, turning into water, and the water in the puddles froze in the evening, turning into ice, and someone secretly tasted the snow. We ride on a sled and, threatening the frost, say:
You, frost, frost, frost,
Don't show your nose!
Go home quickly
Take the cold with you.
And we'll take the sleigh,
We'll go outside
Let's sit in the sleigh -
Scooters.
In spring, nature awakens, and children become more alive, energy is in full swing. After frequent rains, puddles form, but how cool it is to make a boat and set it sailing, and my favorite pastime is simply to walk through the puddles and see whose puddle is deeper.
Autumn – everyone says it’s sad, but there are so many interesting things to do. We were clearing leaves from the area and it turned out to be a huge pile, which immediately prompted the game “Jump over the leaves.” And how interesting it was that we said goodbye to the last leaves, at first we spun, danced, and then tossed them up and the wind carried them away until next year.
I strive to bring children closer to nature through direct communication with it. I give you the opportunity to feel the water (we conducted experiments: how water affects the growth of plants; freezing water turns into ice, and ice and snow melting turn into water; the earth was compared to snow and sand; temperature: in the sun the temperature is higher than in the shade, in winter and in summer there are different temperatures, as with a change in temperature the appearance of nature changes). It is important not only for children to feel nature, but also to be able to see the beauty of nature, to notice something unusual, interesting (so the children picked up a stump and found huge carpenter caterpillars, they noticed that they were still cute; they watched a praying mantis, noticed pay attention to how it moves; watch the ants, how they work, each one at work). The artistic word provides me with great help in introducing children to nature; it helps to perceive nature more emotionally and intelligibly (in the park we approached a birch tree and the children remembered the song “Oh yes birch tree,” danced around it, and when they approached the willow tree the girls remembered the song “Willow Trees”) ", to which they danced a dance with scarves: Ivushki, you Ivushki,
The trees are green,
What have you done?
Love was answered...).
In my work, I try not to force this or that song or poem on children, so that it all happens naturally, according to the children’s wishes.
II. a) The great song wealth of the Russian people is the basis of Russian musical culture. Folk song also enters the life of a child. Truthfulness, poetry, richness of melodies, variety of rhythm, clarity and simplicity of form are characteristic features of Russian folk songwriting. The song is intertwined with games, fairy tales, and appears in a wide variety of connections, initially entering into games, nursery rhymes, and fairy tales; over time, the song begins to occupy an independent place in the child’s life. Children love to sing. They sing songs that they not only learned in class, but also heard from adults. They really like to listen to folk songs when adults perform them, they are delighted and listen with their mouths open. In many families, parents sing; testing was carried out in the middle group, which helped me find out in which families they sing and what songs. Then this helped me in selecting repertoire for children. Many songs are accompanied by round dances and dancing. In the middle group I also danced with the children, and with the older group I gave them the opportunity to improvise more. Girls do this better than boys, but gradually they take part more actively, for example: before, when congratulating their friend on his birthday, boys tried to sit out, but now they argue about who will congratulate him first. Russian folk songs are also interesting because they can be staged: “We will marry a mosquito”, “Like a thin meadow”, “The young woman went for water”, “At the blacksmith”. Children imitate the movements with pleasure, experiencing them together with the characters. I propose small competitions to see who can portray the hero more expressively.
B) From the middle group we first tried to use Russian folk dances, although elements of folk dances were taken in the younger groups, in the middle group this work became more complicated; the whole dance was based on Russian folk movements. In the senior group, I began to introduce elements of Russian dance in physical education classes, dance step, round dance, etc. I compiled a complex of morning exercises under r.n.m. “Lanterns”, I plan to make more complexes. Children really enjoy these activities and do the exercises with great pleasure.
C) All activities for the development of musical folk art are reflected in the matinees: “Maslenitsa”, “Easter”, “Christmas”, “Spring festivities”, “Apple tree rescue”, in the entertainment “Laughter and fun”, which was entirely compiled on the basis folk art, with elements of Kuban culture. Children sang folk songs, danced in circles, performed funny ditties, and danced: girls with scarves, boys dancing riders. This entertainment combines all the elements of folk art. The children were left with indelible impressions. For a long time, the children remembered and reproduced elements in everyday life (they performed dances, performed round dances, sang lively songs, ditties, even invented new ones, played games.) In the older group, I continued to work with children, tried to diversify the children’s lives, introduce song and dance into everyday life, as accompaniment they used folk instruments (spoons, rattles, tambourines, triangles, bells.) I try to make folk art an integral part of children's life, familiar and familiar. Entertainment was provided: “Grandfather and Woman”, “Journey to a Fairy Tale”, “Laughter-Laughter”.
In the older groups, we held concerts in our free time, but I think we need to show more concerts to the children of other groups, this helps the children learn the breadth of the Russian soul, relax, and feel freer.
III. Children's natural need for bright colors and colorful motifs can be satisfied by introducing objects of Russian folk fine art into children's lives. Like any great art, it fosters a sensitive attitude to beauty. Artistic works created by folk artists always reflect love for their native land, the ability to see and understand the world around them. In modern culture, folk art lives in its traditional forms. Thanks to this, the products of folk craftsmen retain their stable characteristics and are perceived as carriers of a stable, holistic culture. Works of decorative and applied art form artistic taste. Folk art items are diverse: these can be toys made of wood, clay, dishes, carpets, lace, lacquer miniatures, etc. Each product carries goodness, joy, and imagination, captivating both children and adults. Fine folk art has enormous emotional impact and is a good basis for the formation of the spiritual world. Folk art is figurative, colorful, and original in its design. It is accessible to children’s perception, since it contains content that is understandable to children, which in simple, laconic forms reveals to the child the beauty and charm of the world around them. These are always familiar to children fairy-tale images of animals made of wood or clay.
Ornaments used by folk craftsmen for painting toys and dishes include flowers, berries, leaves, which a child encounters in the forest, field, or kindergarten area. Masters of Khokhloma painting skillfully compose
Ornaments made of leaves, viburnum berries, raspberries, cranberries. Gorodets craftsmen create their ornaments from leaves and large flowers of kupavka, rose hips, and roses. Clay toy makers most often paint their products with geometric patterns: rings, stripes, circles, which are also understandable to small children.
Children get acquainted with folk art through different types of activities: in games, in classes, independent activities and at holidays and entertainment. In the game, I teach children not just to perform certain actions in a stereotyped manner, but by developing the plot, changing the environment around them, making it cozy, comfortable and colorful. For example, girls, playing with dolls, simply place flowers on the table, beautifully arrange furniture and dishes. Some of it works, but mostly for girls, boys somehow don’t pay attention to it. The group has masks and costumes for dramatization games. Children love to show each other little theatrical performances using various types of puppet theaters. I am working to further diversify the types of dolls and teach children how to move them correctly and expressively.
A) In independent artistic activities, children unite on their own initiative in small groups or individually, in accordance with their interests and inclinations for a particular type of artistic activity, for example, Andrey M., Kristina, they really like to sculpt, Tanya Sh, Dasha K., Alyosha prefers to draw. All material is provided to children. They often repeat the activity they like. Working with natural materials found a great response among children, because before their eyes a simple cone comes to life, turning into a person or animal. With the children we made heroes of fairy tales: the hare from the fairy tale “Hare - Boast”, “The Magic Bird”. In these works, I showed the children what and from what material they could be made: an acorn head, a tail and wings, feathers, or seeds from an ash tree. But in the decorative panel, I invited the children to make their own choice of material. Independent artistic activity is widely associated with music, literature, theatrical performances, drawing, sculpting, and appliqué. Children prepare fairy tale characters on their own, so we made bears for the fairy tale “The Three Bears” and played it out in our free time. I also use in my work such an interesting moment as the joint design of the group for the holidays (for the New Year we cut out snowflakes, lanterns, made garlands-chains, for the autumn matinee we cut out and painted leaves, etc.)
B) During decorative modeling classes, children create dishes, decorative plates, bas-reliefs, various figures on the theme of folk toys, as well as souvenirs for the holidays, attributes for games. While doing decorative modeling, children begin to understand the combination of decorative elements, the pattern and their arrangement on the surface of objects, for example: in plate modeling, children made a pattern by imprinting, highlighting the outline with a stack. The children were especially interested when they laid out a pattern on a plate made of natural material. The children independently chose the material for the image and fantasized about the image. Children also sculpted dishes in different ways: from a whole piece of plasticine, by flattening, pressing, or using a tape method. I also suggested not just making the dishes, but decorating them, inviting the children to look at examples of how the dishes were decorated. The children also really enjoyed making dishes from Kinder Surprise, by completing the missing parts and decorating them.
The most interesting topic in decorative modeling is the modeling of folk toys. Folk toys are varied in style. The ability to sculpt toys in different styles is possible only if the child fully understands the differences in the depiction of shapes and decorative ornaments. To do this, I introduced children to toys of various crafts (matryoshka dolls, Dymkovo, Bogorodsk toys), with their features, both sculptural and ornamental, through creative and didactic games, looking at illustrations. Our acquaintance with haze began in the middle group. Children looked at toys, illustrations, played “Dymkovo Lotto” and “Toy Store”. The children also sculpted “Dymkovo young ladies” from plasticine and clay, and painted them themselves. All the work on modeling in the middle group resulted in a final lesson-exhibition, where the children told themselves and got acquainted with ceramic dishes (jugs, plates, vases, pots), showed the entire path of clay from a piece to a beautiful product, how it was fired, painted, covered with glaze. My parents helped in many ways, bringing items made by folk craftsmen, and some made with their own hands.
In the senior group, I continued to work on getting to know the haze. The children sculpted young ladies, but with more complexity, some “Water-bearer”, some dancing, and some with children in their arms. The children also got acquainted with the modeling of Dymkovo animals: a rooster, a horse, a dog. The children were especially interested in modeling from salt dough, and then they baked the figures and tried to paint them. The skills acquired by children in the process of decorative modeling are used by them when creating other types of work, making the products more expressive in design and design. At the end of the senior group, there was a final lesson-exhibition, in which the children showed how much they had mastered folk crafts, what applies to each of them, what they are made of, what pattern elements they use, what colors.
In the preparatory group, I continued to work on decorative modeling, introduced the children to other types of folk crafts: Bogorodsk toys, Kargopol toys, different types of nesting dolls, products from Polkhov-Maidan and Gzhel dishes; use different materials in your work: dough, clay, plasticine. There are plans to make dishes from papier-mâché.
C) In decorative applique, children master the ability to cut out and combine various elements of decoration according to the laws of rhythm, symmetry, using bright color comparisons. In these classes, children learn to stylize, decoratively transform real objects, generalize their structure, and endow samples with new qualities.
In the middle group, she continued to work on making patterns on a square, then on a circle, using geometric shapes, alternating them in shape and color, decorating the middle of the sheet and the edges; By combining the shapes, a plant motif was obtained: a round berry, oval leaves, flower petals. Each of the forms, decorated by children, was presented in the form of a symbol, a certain thing, an object: a scarf, a runner, a sweater, an apron, a scarf, a plate.
In the older group, the very shapes of the pattern elements become more complex: flowers with three petals - tulips; The colors used by children and the combination of colors become more complex, and she invited the children to choose the colors that relate to this or that type of craft. In the preparatory group, I diversified and complicated the work: we added various shapes for applique - an oval, a vase. And also perform patterns based on haze - “Decorate the young lady, the rooster”, Gorodets painting - “Decorate the board”. This work is difficult and painstaking, so I want to pay more attention to individual work.
D) But most of all I taught decorative drawing classes. From the middle group, children learned to identify the elements of a pattern: strokes, dots, rings, circles, straight and wavy lines inherent in this type of art. So, for example, in drawing haze, children made a pattern on a square, alternating circles and stripes, dots and waves, and then transferred it to the young lady’s dress.
Along with traditional drawing methods, I also used TRIZ elements, for example: berries were depicted with a finger, curls with a pointed match. She showed various techniques for painting with a brush; if you just touch the end of the brush, you get a dot or a thin line, and if you put it flat, you get a petal or leaf. In my opinion, the biggest difficulty for children is the symmetry of the arrangement of the pattern; if on a square they easily fill in the corners and then the middle, then in a circle and oval they are lost.
I often think about what should be done in drawing themes of large, large objects, for example: draw a large leaf of a plane tree, show all the shades of color, veins, this will help children move away from the pattern in drawing, and develop the ability to see details in the overall drawing.
Children really love to watch me draw, noticing that everything is neat, subtle and beautiful, I invite them to sit next to me and draw. Even if things don’t work out yet, this is only the beginning of the journey in introducing children to folk art.
IV. At preschool age, a process of familiarization with the language of their people and mastery of this language, amazing in its significance for the development of children, occurs. Children acquire their native language, first of all, by imitating the living spoken language. Children adopt sayings from me, the proverbs that I use most often, they especially like those that I pronounce with humor, with a special intonation, for example:
Seven do not wait for one thing;
If you hurry, you will make people laugh;
Without labor, you cannot take a fish out of the pond;
If you suffer for a long time, something will work out.
The children are impressed by the unusualness and incomprehensibility of some phrases, I explain them by giving examples: Igor G. It always takes a long time to get dressed, so we tell him: “Seven, they don’t wait for one.” Proverbs and sayings reveal to the child some rules of behavior and moral standards: to break is not to build. For a long time in Rus', raising children was accompanied by refrains and sentences, especially with the smallest ones, in order to attract their attention, calm them down, cheer them up, and “talk.” Such processes in children's lives as dressing and bathing require accompaniment with words, and here Russian folk art is indispensable. It creates a uniqueness of language, and the child does simple actions with pleasure. Growing up, children began to transfer all these actions into games with dolls, while combing the doll, the girls said: I scratch, I scratch my hair,
I'm combing my scarf,
Grow, braid, to the waist,
Don't lose a hair!
Grow up, braid, don’t get confused...
Daughter, listen to your mother!
While bathing the doll they repeated: There is a duck at sea,
She washed, bathed,
I washed my face white,
Well equipped
Boots on your feet,
White stockings.
In refrains and sentences, the child reflects his emotional mood.
A) But, in my opinion, riddles have received the greatest recognition in working with children. A riddle is a useful exercise for the mind. Riddles are always based on experience, on the knowledge of children, phenomena, their qualities, signs. Children became familiar with riddles in the younger groups; they solved them with pleasure, finding in the imagery a connection with a natural object, a phenomenon: he lay, lay, and ran into the river./ Snow./ In the middle and older groups, the riddles became more complex: The peas fell apart
On seventy roads;
No one will pick him up:
Neither king nor queen
Neither the red maiden. /Grad./
But the guys began to write riddles themselves, at first in prose, but then they tried to rhyme, but it still doesn’t work out very well:
Small, white, fluffy,
Jumps deftly, afraid of the wolf. /Hare. Roma K.
Ears are longer than the head
The legs are short in front and long in the back. Mila G.
Brown walks, clubfooted
And he lives in a den. Vika K.
Soft, fluffy,
They lie on it. Dasha K.
Riddles reveal the peculiarities of the native language of his images, accustoming him to sharp and lively thoughts.
B) With great enthusiasm and interest, children memorize tongue twisters, pure tongue twisters, which serve as language gymnastics, unnoticed by children: “Mow, scythe, while the dew”, “ra-ra-ra-high mountain.” In the older group, the children themselves began to come up with pure sayings, I just have to encourage them to do this, and then they themselves vary and compose:
Yes, yes, yes, I'll leave forever. /Diana/
So-so-so- the wheel rolled off. /Dasha/
Sha-sha-sha - our Masha is good / Dasha /
Zhi-zhi-zhi- I'll go to the garages /Mila/
Sa-sa-sa- was bitten on the nose by a wasp. /Namik/
Nya-nya-nya - I'll be gone for three days. /Alyosha/
Ka-ka-ka is a long river. /Seryozha M./
Sy-sy-sy-red mustache /Andrey S./
C) The most brilliant works of Russian folk art are folk tales. They have long been an element of folk pedagogy. In fairy tales, images of native nature, people with their characters and moral traits, and everyday life appear before the child’s gaze; In them, children receive brilliant examples of their native language. Fairy-tale images reveal to a child the concepts of good and evil and foster good feelings. Growing up, a child not only listens to a fairy tale, but also begins to tell it himself. While telling a fairy tale, he relives the events that take place in it, imagines images, speaks in fabulous, colorful language: a gray wolf, a jumping bunny, a beautiful maiden. At first, I needed help with storytelling, in some places I recalled a plot, and in others a beautiful, expressive word. Next, I offered to come up with my own fairy tale. I noticed that children turn out better fairy tales in which they come up with characters themselves, rather than me suggesting them.
For example, Igor M. came up with a fairy tale with the proposed characters: Once upon a time there lived an old man and an old woman. They had a cat, he played, ran after mice and scratched the dog, and she ran away from him. Then he went into the forest and got lost. The old man and the old woman went to look for him, but did not find him. And he climbed a tree and sat there. The cat jumped off and ran home, when the old man and the old woman returned home, he was already at home and everyone was very happy.
Roma K. came up with a fairy tale with his characters:
There lived a brownie in the world, all the brownies were his friends. One day he didn’t have any firewood and he went into the forest to get it. He found a tree, beat it, didn’t break it, it turned out to be iron. Then a log fell on him. Someone was gnawing on him, when the brownie came home, he couldn’t figure out who it was for a long time, and then it turned out it was a mouse. The brownie invited all his friends for dinner. All the brownies gathered at the table, ate and thanked for dinner. That’s the end of the tale, and well done to those who listened.
Fairy tale themes are so close to children that they easily penetrate into their dramatization games; they teach them to translate images of their imagination into the language of gestures, facial expressions, and words, enrich the child’s vocabulary, and develop his memory. The children and I dramatized such fairy tales as “Turnip”, “Kolobok”, “Seven Little Goats” and others. My favorite fairy tale is “Teremok”. Children use masks, elements of costumes, attributes (turnip, bun, egg, basket, floor constructor.) I tried to base it on the choice of fairy tale by the children themselves. In dramatization games, children master the peculiarities of expressions of the Russian language, its sound, harmony, verbal forms - question, answer, dialogue, conversation, narration. Some children have difficulties here, for example, Roma K. portrays the image of the hero very well, but the story from the author does not work for him, while Andrey S. does the opposite. Therefore, I try to give Andrey more imaginative roles, and Roma the words of the author.
In order for children to play better roles, I introduce Russian folk games into their lives. They have a long history, they have been preserved and survived to this day from ancient times, passed down from generation to generation, absorbing the best national traditions. All folk games are characterized by the Russian people's love for fun and daring. We can safely say that folk games influence the education of the mind, character, will, develop moral feelings, and physically strengthen the child. Folk children's games are distinguished by simplicity, extreme completeness, completeness. The song, the word, the movement are organically connected in them: “Loaf”, “Zainka”, “Geese-geese”, “Two Frosts”, “Colors”, “Zhmurki”, “Golden Gate”. These games help the development of speech and expressiveness; children do not just play, but try to express themselves in images. The most favorite games for children with elements of competition are: “Burners”, “Empty Space”, “Third Wheel”, “Volotov Run”.
V. An effective means of educating the moral qualities of preschoolers is a fairy tale. Russian pedagogy more than a hundred years ago spoke of fairy tales not only as educational and educational material, but also as a pedagogical tool and method. Fairy tales provide rich material for the moral education of children. It is not for nothing that they form part of the texts in which children comprehend the diversity of the world.
The great Russian teacher K.D. Ushinsky had such a high opinion of fairy tales that he included them in his pedagogical system, believing that the simplicity and spontaneity of folk art corresponded to the same properties of child psychology. Ushinsky developed in detail the question of the pedagogical significance of fairy tales and their psychological impact on the child.
V. A. Sukhomlinsky theoretically substantiated and confirmed in practice that “a fairy tale is inseparable from beauty, it contributes to the development of aesthetic feelings, without which nobility of the soul, heartfelt sensitivity to human misfortune, grief, and suffering are unthinkable. Thanks to a fairy tale, a child learns about the world not only with his mind, but also with his heart.” In his opinion, fairy tales are a fertile and irreplaceable source of instilling love for the Motherland. Interesting is the unique experience of this teacher in creating a room of fairy tales, where children not only got acquainted with it, but also learned to create it, embodying their childhood dreams in it.
The founder of Russian ethnopedagogy G.N. Volkov, analyzing the role of fairy tales in the formation of a child’s personality, concludes that “the spiritual charge accumulated by the people over thousands of years can serve humanity for a very long time. Moreover, it will constantly increase and become even more powerful. This is the immortality of humanity. This is the eternity of education, symbolizing the eternity of humanity’s movement towards its spiritual and moral progress.”
Thus, the fairy tale lived on despite persecution and played a huge educational role. Fairy tales and epics about the brave hero Ilya Muromets and Dobrynya Nikitich teach children to love and respect their people, to overcome difficult situations with honor, and to overcome obstacles. In the dispute between a folk hero and a negative character, the issue of the triumph of good and the punishment of evil is resolved.
A fairy tale evokes a protest against existing reality, teaches us to dream, makes us think creatively and love the future of humanity. A complex picture of life is presented to children in a fairy tale in the form of a simple, visual diagram of struggling principles, guided by which it is easier to understand reality itself.
In satirical tales, people ridicule the desire to easily obtain the blessings of life, “to easily pull a fish out of the pond,” greed and other human shortcomings. Many fairy tales glorify resourcefulness, mutual assistance and friendship.
The ideal of a person given in fairy tales can be considered as the main educational goal, and this ideal is differentiated: the ideal of a girl, a boy, a child(boy or girl).
So, in the folk tale there was a hero, so attractive and instructive for children, a system of images, a clear idea, morality, expressive, precise language. These principles formed the basis of fairy tales created by classics of literature - V. A. Zhukovsky, A. S. Pushkin, P. P. Ershov, K. I. Chukovsky, as well as modern writers, both domestic and foreign.
In order to make the most effective use of a fairy tale for the purpose of educating the moral qualities of children, it is necessary to know the features of a fairy tale as a genre.
Many fairy tales inspire confidence in the triumph of truth, in the victory of good over evil. The optimism of fairy tales is especially popular with children and enhances the educational value of this medium.
The fascination of the plot, imagery and fun make fairy tales a very effective pedagogical tool. In fairy tales, the pattern of events, external clashes and struggles is very complex. This circumstance makes the plot fascinating and attracts the attention of children to it. Therefore, it is legitimate to say that fairy tales take into account the mental characteristics of children, primarily the instability and mobility of their attention.
a) Imagery is 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 the main character traits that bring him closer to the national character of the people: courage, hard work, wit, etc. These traits are revealed both in events and through various artistic means, for example hyperbolization.
The imagery is complemented by the funniness of fairy tales. A wise teacher, the people took special care to ensure that fairy tales were entertaining. As a rule, they contain not only bright, lively images, but also humor. All nations have fairy tales, the special purpose of which is to amuse listeners. For example, “reversal” fairy tales.
Didacticism is one of the most important features of fairy tales. Allusions in fairy tales are used precisely for the purpose of enhancing their didacticism. “A lesson for good fellows” is given not by general reasoning and teachings, but by vivid images and convincing actions. This or that instructive experience gradually takes shape in the consciousness of the listener.
Working with fairy tales has various forms: reading fairy tales, retelling them, discussing the behavior of fairy-tale characters and the reasons for their successes or failures, theatrical performances of fairy tales, holding a competition for fairy tale experts, exhibitions of children's drawings based on fairy tales, and much more.
B) Fairytale therapy is an integrative activity in which the actions of an imaginary situation are associated with real communication aimed at activity, independence, creativity, and the child’s regulation of his own emotional states.
Any activity contributes to the emergence of new personal formations as a person becomes a member of it. Mastering the “I” position in fairy tale therapy allows the individual to respond to the proposed situation with his own negative experience and clarify the meaning of the means of linguistic expressiveness in body language, facial expressions, postures, and movements.
My work with the fairy tale is structured as follows:
- reading or telling the fairy tale itself; its discussion. Moreover, during the discussion, the child must be sure that he can express any opinion of his own, i.e. whatever he says should not be condemned.
2) a drawing of the most significant passage for the child;
3) dramatization, i.e. playing a fairy tale in roles. The child intuitively chooses a “healing” role for himself. And here it is necessary to give the role of the screenwriter to the child himself, then the problematic moments will definitely be lost.
Each stage is discussed, because The child's feelings are very important.
The main point of fairy tale therapy is the voluntary participation of children. An adult must find an adequate way to include children in fairy tale therapy. In one case, it may be figurative text, ditties, fables; in another - looking at illustrations, guessing riddles about fairy-tale characters. In my work, I strive to ensure that every child can feel an attentive attitude towards themselves from an adult, but not all children can immediately join the game. Some of them first want to watch what is happening from the side, and only later do they have a desire to participate in the entertaining spectacle themselves. Taking into account the individual characteristics of children, I begin fairy tale therapy with those children who respond to the invitation faster, but at the same time I additionally motivate the rest of the children to join the game.
Before fairytale therapy, children are introduced to a fairy tale; this is necessary to obtain a holistic impression of its text. In addition, when encountering a fairy tale again, it will be easier for preschoolers to focus on figurative vocabulary that characterizes the character’s appearance and expressively display the character’s emotional state in facial expressions, movements.
When conducting fairytale therapy, I pay great attention to the motor activity of children to relieve emotional stress; children sit on chairs only a small part of the time.
When playing the game, children are encouraged to make independent statements regarding the plot of the fairy tale, the actions of their peers, and their own experiences. Therefore, when, at the end of fairytale therapy, discussions do not start on their own, I encourage the children to talk about what games and exercises they liked, remembered, and the roles of which fairy-tale characters they would like to play again.
When conducting such fairytale therapy sessions, I pay attention to the behavioral reactions of children, their emotions, i.e. if a child is withdrawn, then he is asked to play the role of heroes with strong character traits (a strong bear, a brave hare) and vice versa, children prone to stubbornness and whims portray characters with positive character traits (a good wolf, a defenseless chicken). In the future, you can notice positive effects, improved mood, development of emotional stability and coherent speech of the child.
When conducting fairy tale therapy, I use a subgroup method of working with children. As experience shows, it is in this range that the effects of subgroup fairy tale therapy are especially pronounced. In each subgroup, I try to include children (or a child) who are able to compose coherent and grammatically correct sentences, who can expressively convey the character of a fairy-tale hero in movement, facial expressions and rhythm. Such children (or a child) not only captivate other children with their artistry, but at the same time have an impact, one might say. Help your peers who have difficulty choosing facial expressions, movements, and rhythm.
Fairytale therapy sessions are planned and conducted by me once a week. In the younger and middle groups, the duration of fairy tale therapy is 15-20 minutes; in older ages, the duration of the session can reach 25-30 minutes.
Regularity helps to consolidate the positive effect in the development of the child’s personality and speech, but it should also be taken into account that children like repetition, therefore it is advisable to sometimes repeat fairy tale therapy sessions, accompanied by a show of puppet theater, flannelgraph, shadow theater, finger theater, glove theater, life-size puppet theater , a tabletop theater aimed at verbal commentary on situations, which mostly uses creative games with search elements. In cases where the game emotionally captures children, it is necessary to provide the child with the opportunity to satisfy his desire for activity or to devote more time to exercises to relieve stress while listening to music.
In some cases, the time frame for fairy tale therapy may change, depending on the situation in the group. Sometimes it happens that children of a given age themselves suggest topics for fairy tale therapy by their behavior; when Misha T. (4.5 years old) came to the group, he brought with him toys that he did not want to share with the children. Having given the children the opportunity to independently understand the current situation, I told the children the fairy tale “The Greedy King” that I had invented, after which Misha himself, realizing the meaning of the fairy tale, began handing out his toys.
Thus:
- the child understands that adults are interested in his problems, that his parents are on his side.
- he adopts the following approach to life: “look for the strength to resolve the conflict within yourself, you will definitely find them and overcome difficulties,” i.e. we live our lives the way we build it for ourselves.
- Time shows that there is always a way out of any situation, you just need to look for it.
As a result of fairytale therapy, the child feels the support of adults, which he so needs.
